Full text of "Bewick gleanings : being impressions from copperplates and wood blocks, engraved in the Bewick workshop ..."

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Bewick Gleanings

Impressions

Copperplates and Wood Blocks,

p:xgraved IX the bewick workshop,

RKMAIXIXc; IX THE POSSESSION OF THE FAMILY UNTIL THE DEATH OF THE LAST
MISS BEWICK, AND SOLD AFTERWARDS BY ORDER OF HER EXECCTORS.

EDITED, WITH XOTES,

By JULIA BOYD,

Memb. of the Society of Antiquaries, Newcastle ; The Westmorland and Cum'jerlanh Soc.

The Harleian Soc. ; etc.

TO WHICH A HE ADDED,

LIVES OF THOS. BEWICK AXD HIS PUPILS,

With Impressions from other Wood Blocks Collected rv or lent to the Avthok.

PRINTED AND PUBLISHED BY ANDREW REID,
Printing Coirt Biildings, Akenside Hill, Newcastle-vpon-Tvne.

1886.

^^ 'ij5j*u(^_;T^rii-^r^tfl^Sii3r.»(i^

(From the Bewick Sale, 230.)

Zo in^ jf^atber,

WHO l.\ HIS CHILDHOOD KNEW THOMAS BF.WICK ;

I\ HIS BOYHOOD ROAMED BY THE RIVERS THEY BOTH LO\'KD,

AND IX MANHOOD DELIGHTED

TO SKETCH THE NORTHERN SCENES AMIDST WHICH THEY WERE BORN

WHC)SE FIRST PRESENT TO HIS CHILD WAS A COPY

OF BEWICK'S WORKS ;

AND WHO HAS NEVER CEASED TO DIRECT HER TIIOCGHTS

TO NATURE, AND THE ART THAT

POURTRAYS IT,

THIS VOLUME IS DEDICATED.

Mr. D. C. Thomson, in opening his chapter on "Hints to Bewick Col-
lectors,'' very truly says : —

''As in the case of many works of genius, especially in the world of art, it is Jiffii nil
for many people at the first to appreciate the worth of Bewick's engravings. Some are disap-
pointed that they are not more ' important,' both in size and subject ; others think that the}-
are not so good as much work that is commonly performed for our modern illustrated papers ;
while others prefer etchings, or engravings, or any other of the methods invented to reproduce
works of art. It is only after some acquaintance with the wealth of Bewick's invention, the
a.:curacy of his delineations, the beauty of his compositions, and the other innumerable
attractions of his works, that the strength of his power is understood. When this acquaintance
has been prolonged — and to do so is worth some trouble, when the repayment is so rich— then
hi^ master-hand cannot fail to be recognised, his talent appreciated, his humour understood, and
his genius applauded ; while the intelligent observer forthwith becomes a ' Bewick Collector.' ''

Mr. Thomson also remarks : —

"It is said that Bewick was paid only nine shillings each for several of the engravings
in the 1784 Fables ; but, possibly, he found he could make a small profit even out of this— it
could not have been a large one — as he had so many to execute at once, and comparative leisure
to do them at spare times. A block of similar size and subject would not be taken in hand
nowadays at less than three or four guineas, and at this price we should have the cheapest,
commonest, unpleasantest work imaginable. Bewick may onl}' have recei\'cd the paltry sum
named, yet the labour he gave in return was not to be had for payment of any kind : a genius
may receive wages, but his labours confer honour on whatever his hand touches, and repay in
years to come mtire real \'alue than money can equal. Saint might have ]iaid a thousand
pounds for his series of blocks to one of the engravers of the day then considered at the head
of his profession, and now they would have been entirely forgotten. No money could insure
the purchase of the gems for which he paid so triHing a sum, yet they give the book a reni'wn
sure to last as long as Bewi.k is recognised as the revolutioniscr of wood engraving in England."

PRE FA CE.

PREFACE.

This volume is published by the Editor from a feeling that
Bewick students may like in after years to have a permanent
record of the " aftermath " of that remarkable workshop
wherein was wrought so much interesting work at the end
of the eighteenth and beginning of the nineteenth centuries.
Thomas Bewick served his time with Ralph Beilbv, and
afterwards entered into partnership with him. His brother,
John Bewick, with Robert Johnson, Luke Clennell, Charlton
Nesbit, Isaac Nicholson, William Harvey, John Jackson, and
many others, became his apprentices. Eventually, his son,
Robert Elliot Bewick, was taken into partnership with him,
and carried on the business after his father's retirement until
his own death in 1849. ^s Robert Elliot was unmarried, and
left no partner, the business then ceased. The drawings,
blocks, copperplates, and other materials, however, which
had formed the stock-in-trade of the establishment, remained
in the hands of his sisters, whose loving veneration for their
father's memory caused them to preserve everything he had
possessed with the most intelligent care. These venerable
ladies attained respectively the ages of 93 and 94, surviving
until the years 1881 and 1883.

PREFACE.

In 1880, a Bewick exhibition was held by the Fine Art
Society in New Bond Street, London, to which the Misses
Bewick kindly lent many of the treasures held by them ;
then, for the first time, the London public realized the fact
that Thomas Bewick had been an exquisite painter in water-
colours as well as a designer on wood. The interest ex-
pressed in their father's beautiful little water-colours induced
the Misses Bewick to present them to the British Museum,
where they now hang on screens in the King's Library.
These ladies had still almost unlimited treasures left, for, not-
withstanding this gift, and the fact that they had parted with
many valuable blocks, two of the rare impressions of the
Chillingham Bull, on vellum, and some water-colour drawings
to Mr. Hugo and others, they gave to Mr. Joseph Crawhall,
of Newcastle, their father's box of tools, and they were still
able to empower their executors to present to the Museum
of the Natural History Society, in Newcastle, a splendid series
of their father's drawings and designs, a portrait of himself
and son, and his own copy of the Chillingham Bull on
vellum, etc.

The series of blocks used in the last editions of the
History of Quadrupeds., British Birds., Aisofs Fables, and
Memoirs, they had intended to have had published as a
"Memorial Edition" by Mr. Bernard Quaritch, of London;
but this intention they did not live to carry out. These
blocks were sold in London by Messrs. Christie, Manson,
& Wood. A keen competition ensued between Mr. Quaritch
(who wished to republish them) and the Messrs. Ward,
printers, of Newcastle, great-nephews and legatees of the
Misses Bewick, who preferred to print them themselves.

PREFA CE.

This caused the price to be raised to the extraordinary
sum of ;!^2,35o; at which amount they were knocked down to
the Messrs. Ward. Eventually, it was arranged that the
Messrs. Ward should print, and Mr. Quaritch should publish,
the proposed " Memorial Edition," and the first two volumes
of that edition are now before the public.

Besides these books — comparatively iew in number —
published by Bewick himself, of which the British Birds is
confessedly the best, he and his firm were constantly engaged
on innumerable illustrations of animals, fables, tailpieces,
etc., for books published by other people, and in fulfilling
orders for private gentlemen, which were always executed
with especial care. A perfect revolution was thus effected
in the children's books, school books, and poetry books of
that day. Many exquisite specimens of these blocks found
their way, after the publishers had finished with them, into
the collections of Mr. Hugo, Mr. Jupp, Mr. Ford, Mr. Pearson,
r3octor Smith, Miss Boyd, Mr. Robert Robinson, and others.
But, besides these, a considerable stock of more or less inter-
esting remnants were left in the hands of the Misses Bewick.
Among these were copperplates executed by their father,
to be printed from presses of his own, and never claimed by
the people for whom they were done ; also, blocks begun and
never quite completed, either because the wood was not suit-
able, or some trifling improvement of position in the animal
or design occurred to Bewick of which he longed to try the
effect, and these are interesting as showing his work in process.
Thev also possessed blocks executed by pupils, of which their
father did not quite approve, and other exquisite blocks here
and there for tailpieces 'or book-plates, which may have

PREFACE.

been countermanded or never claimed by the publishers and
gentlemen for whom thev were executed,* and others that
were possibly being prepared for some enterprising South-
countrv bookseller who might think that he, as well as
Davison, of Alnwick, could publish a successful little animal
book, with "illustrations bv Bewick."

The Editor advances this last theory with diffidence ; still,
it is possibly a correct one, and mav account for the number
of quadruped blocks in Miss Bewick's possession. See Note
No. 163 on the "Bewick Sale" blocks.

These "remainders" of copperplates and wood blocks
were sold in Newcastle in August, 1884, bv order of the
executors, and almost all of them, bv purchase, then or after-
wards, came into the possession of the Editor. It is not for a
moment pretended that all, or even a majority of them, were
cut by Thouas Bewick. Most of the quadrupeds are plainlv
by the pupils ; only a few, the dogs and foxes especially, bear
evidence of Thomas Bewick's graver, and several exquisite
little tailpieces, and manv of the copperplates, mav safelv be
attributed to the great master's own hand. It must alvvavs be
remembered that he seldom signed his wood blocks, and that
he was in the habit of reproducing any especiallv favourite
subject again and again with his own hand. In these he
would vary sometimes little details in the background, or,
on the other hand, he aimed sometimes at exact reproduc-
tion, as in the case of the duplicate book-blocks cut for
Mr. John Fenwick.

The real interest of this volume, however, lies in the

* As in the case of the Waggon and Horses, No. i, "Bewick Sale"
blocks. See note on same, page 73.

PREFACE.

fact that it contains the last that remained unpublished of the
works in the hands of the family, and that they all Jiiust have
been executed under the eye and direction of Thomas Bewick
himself. It therefore appears well to the Editor that an
authentic reprint from the whole should be taken before their
final dispersal, thus affording to future collectors a record of
these copperplates and blocks, and means for their identifica-
tion. No expense or trouble has been spared by the Editor,
and no care or pains begrudged by the printer, to justify the
generous confidence of the subscribers, and to prove that
Newcastle publishers and Newcastle workmen are as well
able now to do full and ample justice to any local work
entrusted to their care, as in the days when Bewick employed
them. Since the Prospectus was first issued many additions
to the volume have been made, which, the Editor hopes, may
be deemed valuable.

The Editor desires to thank Mr. J. W. Pease, of
Pendower, for permission to have an entirely new etching
taken from an oil painting which belongs to him of " The
Lost Child," by Ramsay. This etching, which forms the
frontispiece to the large paper copies, has been especially
done, in his best manner, for this work by Mr. C. O. Murray,
who has been described by one of the highest authorities
on art as "the first etcher of the day." Also, to the large
paper copies have been added another portrait of Bewick
(on steel) by Bacon, after Ramsay, said by Mr. Hugo to be
"considered by many the best likeness ever produced," and
a third portrait of Bewick (on steel) by Meyer, after Ramsay,
which Mr. Hugo tells us was "said by the family of the artist
to be a most excellent likeness and a complete success."

xiv PREFACE.

Fortunately, Meyer's engraving is not too large to appear in
all the ordinary sized quarto copies. The plates of these two
last portraits belong to the Rev. E. Pearson, of Cheltenham,
to whom thanks are due for permitting them to appear.

Messrs. Chatto & Windus have also enabled the Editor
to give impressions from electrotypes of Ovingham, the
Workshop, and the Burial Place of Bewick. Mr. Croal
Thomson has contributed an electrotype of the small Chil-
lingham Bull, and copies from his splendid fac-simile of
the large Bull for the large paper copies. These are all
the illustrations that are not taken direct from the copper-
plates or wood blocks themselves.

Principally through the kindness of Mr. Bailey Langhorne,
nine original letters are here printed for the first time.
Although to those deeply versed in Bewickian lore the Editor
cannot hope to offer anything new (excepting perhaps what
is contained in these letters), yet it was felt that to the
general reader a sketch would not be deemed inappropriate
or unacceptable of Thomas Bewick's life, and the lives of the
pupils connected with him. These sketches the Author has
carefully prepared, after close study and comparison of all the
written authorities accessible, and these lives are accompanied
by impressions from many beautiful blocks to illustrate the
text.

The Editor has been much encouraged in this undertaking
by the Rev. W. J. Townsend, of Newcastle, who has most
kindly helped in looking over the proof sheets, and by the fact
that the splendid collection of wood blocks belonging to Doctor
Smith have been freely and generously placed at the Author's
disposal. To these two gentlemen her thanks are especially

PREFACE.

due ; and, besides those already mentioned, she would also
wish to take this opportunity of thanking Mr. Joseph Crawhall,
one of Miss Bewick's executors, for permission to engrave the
tool box ; the Kev. J. R. Bovle, of Newcastle; Mr. Bolam,
of Berwick ; Mr. Matthew Mackey, of Newcastle ; Mr. Chas.
Lilburn, of Sunderland ; Mr. Hurrel, of Sunderland ; Mr. D.
Croal Thomson, of London ; Mr. Ford, of Enfield ; Mr. Hugh
Fenwick Boyd, of the Inner Temple ; Miss Gertrude Poole,
B. A., of Cheltenham ; Doctor Howard, of Blackheath ; the late
Rev. W. Wray, Vicar of Ovingham ; Mr. G. H. Thompson,
of Alnwick ; Mr. Wm. Dodd, Mr. Brown, and Mr. Dinning,
of Newcastle ; the publisher, Mr. Andrew Reid, and his
son, Mr. Sidney Reid, and their able printers, who have all
united in doing everything in their power to render this
volume satisfactory to the public. The Author also wishes
to express gratitude to those who have so kindly taken an
interest in this publication, and generously subscribed for
the volume before seeing the contents.

In bringing these labours to a close, the Author would
add that, should they prove successful, it will be owing
to the kindness and encouragement received, and the qualitv
of the work dealt with, rather than labours, which, earnest
though they have been, have only helped to reveal to her
her own want of competency for the task ; and she, there-
fore, commits this, her first work, with all its deficiencies,
to the indulgence of her friends and the public.

LIST OF SUBSCRIBERS.

LARGE PAPER COPIES.

Ashburnham, The Rt. Hon. The Earl of, Ashburnham Place, Battle, Sussex.

Abbs, H. C, Esq., Clead^n House, near Sunderland.

Aldora, W., Esq., Trickley Hall, Doncaster.

Anderson, Geo., Esq., Little Harle Tower, Northumberland (two copies).

Anderson, Miss E., Long Benton Lodge, Northumberland (three copies).

Armstrong, W., Esq., Pelavv House, Chester-le-Street.

Ashbee, H. S., Esq., 53, Bedford Square, London, W.C.

Ashworth, E., Esq., Egreton Hall, Bolton.

Bradford, the Rt. Hon. The Earl of, 43, Belgrave Square, London, S.W.

Bell, Sir Lowthian, Bart., F.R.S., Northallerton.

Bagehot, Mrs., The Hon., Herts Hill, Langfort, Taunton.

Bailward, T. H. M., Esq., Horsington Manor, Temple Combe, Somerset.

Baker, Mrs. Baker, Elemore Hall, County Durham (two copies).

Barnes, Mrs., Whitburn.

Barron, Dr. J. W., 10, Old Elvet, Durham.

Bates, Rev. J. E. Elliot, Milburne Hall, Northumberland.

Belcher, Rev. E., Heather Manor House, Ashby-de-la-Zouch.

Benson, Mrs. Christopher, Wiesbaden, Germany.

Binney, H. A., Esq., Leach Hall, St. Helens.

Bird, Rev. C, B.A., ChoUerton Vicarage, Wall-on-Tyne.

Blair, G. Y., Esq., D.L., Stockton.

Blinkhorn, W. J., Esq., 31, Grove Park, Liverpool.

Blomfield, .'\. W., Esq., M..^., C, Montague Place, Montague Square, London.

Bourne, Rev. Dr., St. Edmund's College, Salisbury.

Boyd, Geo. Fenwick, Esq., Whitley, Northumberland (two copies),

Boyd, Rev. Henry, D.D., Principal of Hertford College, O.xford.

Boyd, Hugh Fenwick, Esq., II, King's Bench Walk, Temple, London.

Boyd, Robt. Fenwick, Esq., Moor House, County Durham.

Boyd, William, Esq., 74, Jesmond Road, Newcastle-upon-Tyne.

Bracken, W., Esq., Dee Bank, Braemar, N.B.

Bree, Rev. Canon, M.A., AUesley Rectory, Coventry, Warwick.

Bruckie, W., E^q., C2, Olive Street, Sunderland.

Brodie, J. C, Esq., 26, Moray Place, Edinburgh.

Brown, Miss, Claremont House, Gateshead.

LIST OF SUBSCRIBERS.

Blown, Mr. W., Bookseller, 26, Princes Street, Edinburgh (three copies).

Bruce, Rev. J. CollingAvood, LL.D., D.C.L., F.S.A., Newcastle-upon-Tyne.

Bulman, H. F., Esq., West Rainton, Fence Houses.

liulteel, J., Esq., Pamplete, Ivy Bridtje, Devon,

Rumpus, Mr. J'., Bookseller, O.'cford Street, London (three copies).

Hurdon, Rev. John, M.A., The Castle, Castle Eden.

Coey, Sir E., Knight, Merville, Belfast.

Cooke, Sir W. R. C, Bart., Wheatley Park, Doncaster.

Cooper, Sir Daniel, Bart., K.C.M.G., 6, De \^ere Gardens, Kensington, London, W.

Corbet, Sir Vincent R., Bart., Acton Reynald, Shrewsburj-.

Carr, Rev. C. Blackett, Norham-on-Tweed.

Chadwick, R., Esq., Edgecliff House, Double Bay, Sydney, New South Wales.
Chapman, Captain A. H., J. P., Belle Vue, Low Fell, Gateshead.

Cheney, F-. H., Esq., Gaddesby Hall, Leicester.

Clark, W., Esq., Cranbury Lodge, Park Lane, ^Vigan.

Clarke, Jas., Esq., Christian TTor/i^ Office, 13, Fleet Street, London.

Cooke, L, Esq., Wilthew's Lane, Liscard.

Cornish-Bowden, Vice-.\dmiral, Oak Lawn, Newton Abbot, Devon.

Cornish, Mr. J. F.., 16, St. Ann's Square, Manchester (five copies).

Cosser, Mrs. Wilson, 5, Westbourne Square, London.

Cowen, Jos., Esq., M.P., Stella Hall, Blaydon-on-Tyne.

Crawford, T., Esq., Littletown, Durham (two copies).

Devonshire, His Grace The Duke of, Devonshire House, Piccadilly, London.

Davidson, R. S., Esq., M.R.C.S., Newburn-on-Tyne.

Davies, W., Esq., Bridge End House, Stonehouse, Gloucestershire.

Deighton, Bell, & Company, Messrs., Cambridge.

Dinsdale, J., Esq., 50, Cornhill, London.

Dodds, F. L., Esq., Ragworth Hall, Stockton-on-Tees.

Donaldson, Rev. S. A., M.A., Eton College, Eton.

Douglas, C. P., Esq., Consett, County Durham.

Drummond, D., Esq., M.D., 7, Saville Place, Newcastle-upon-T}-ne.

Egmont, The Rt. Hon. The Earl of, Cowdray Park, Midhurst.

Eastwood, J. E., Esq., Enton, Godalming, Surre}-.

Edwards, F. L., Esq., Nanhoron, Pwllheli, Carnarvon.

Embleton, T. W., Jun., Esq., 13, Old Bank Chambers, Park Row, Leeds.

Falmouth, The Rt. Hon. Viscount, 2, St. James' Square, London, S.W,
Favell, T. JL, Esq., The Grove, Etruria, Stoke.
Fenwick, Dr., Chilton Hall, Ferryhill.
Fidler, Mrs., Croft House, St. Bees.

Fisher, F., Esq., Abbotsbury, Newton Abbot, South Devon.

Forster, Jos., Esq., 21, Boundary Roiid, London.

F'owler, Jas., Esq., Manor House, Durham.

F'urse, Rev. Canon, I, Abbey Gardens, Westminster, London.

Ciarnett, Professor \V., M.A., D.C.L., Durham College of Science, Newcastle-upon-Ty[ie.

Gaskell, Captain J. B., Hill Cliff, Woolton, Liverpool.

Gibb, C. J., Esq., M.D., Westgate Road, Newcastle-upon-Tyne.

Gordon, Major-General, Guernsey.

(Jorman, Rev. T. JF., Invermore, Woodstock Road, 0-xford.

Gray, Mrs. E., Westward House, Ryton-on-Tyne.

Greenwell, G. C, Esq., Duffield, Derby.

Grey, Mrs., Milfield, Wouler.

Hargrove, Rev. C, 8, .Montpelier Terrace, Leeds,

llaslewood, Rev. ¥. G., LL.D., Chislet \'icarage, Canterbury.

Hawks, Mrs., 2, Ashford Villas, Cheltenham.

Henderson, Mrs., Leazes House, Durham.

Heppell, T., Esq., Leafield House, Birtley.

Higgin, W. PL, Esq., O.C., Springfield Hall, Lancaster.

Hilton, R. J., F^sq., B..\., Pi-eston House, Faversham.

Hitchman, Mr. Jos,, Birmingham.

Hodges, Figgis, & Company, Messrs., 104, Grafton Street, Dublin (three copies).

Holden, Mr. .A., 48, Church Street, Liverpool.

Holiday, H., Esq., Oak Tree House, Brand Hill, Hampstead, London, N.W.

Hopper, C, Esq., Monk End Terrace, Croft,

Howard, Geo., F2sq., ALP., Naworth Castle, Brampton,

Hurt, A, F., Esq., J. P., D.L., Alderwasley, Derby.

Hutton, T. G., Esq., No. 3, The Cedars, Sunderland.

Hedley, Wm., Beech Grove, near Chester-le-Street (two copies').

Jervis White Jervis, Mrs., Feli.xstowe, Ipswich.

Johnston, T., F^sq., Sea Flouse, Scremerston.

Jones, T., F'sq., Oueen Street, Durham.

Kesteven, The Rt, Hon, The Lord, Casewick, Stamford.
Kavanagh, G., Flsq., 7, Gresham Terrace, Kingston.
Kelly, Mrs, .\dmiral, Saltford House, Saltford, Bath,
Kirkley, Jas., F^sq., 41, King Street, South Shields.

Leconfield, The Rt. Hon. Lord, cj, Chesterfield Gardens, London, W,
Lambton, The Hon. H., 47, Flaton Place, London, S.W.
Lingen, Sir R. W., K.C.B., 6, Westbourne Crescent, London, W,
Langlands, Miss, 4, Strathcarn Place, Edinburgh (two copies).

LIST OF SUBSCRIBERS.

Laws, Hubert, Esq., Ryton-on-Tyne.

Lees, J., Esq., Clarkesfield, Oldham.

Lees, J. E., Esq., Oldham.

Lewis, W. T., Esq., Aberdare.

Lister, J., Esq., Rockwood House, I Ik ley.

Lloyd, Mrs. E., Lingcroft, York.

Lloyds, W., Esq., 5. Red Lion Passage, Fleet Street, London.

Longridge, J. A., Esq., 15, St. George Street, Westminster, London, S.W. (two copies).

Lord, J., Esq., 5, Hampton Terrace, Brighouse, York.

Lorentzen, Rudolf, Esq., Fern Lea, South Boldon.

Losh, W. S., Esq., AVoodside, Carlisle.

Lovell, J., Esq., Mercury Office, Liverpool.

.Macpherson-Grant, Sir G., Ban., .ALP., Ballindalloch Castle, Elgin, Banffshire, N.B.

Milbank, Sir F. A., M.P., Bart., Thorp Perrow, Bedale, i';ri .\orthallerton.

Mackie, R. B., Esq., M.P., Wakefield.

ilacnab, Robt., Esq., Bury St. Edmunds.

.Main, Mr. D. M., 18, Exchange Square, Glasgow.

Marshall, H. JL, Esq., I, Victoria Mansions, Westminster, London.

Melrose, Jas., Esq., Clifton Croft, York.

Morris, W., Esq., Waldridge, County Durham.

Mortimer, Jno., Esq., South House, EUand.

-Morton, H. T., Esq., Biddick Hall, I-'ence Houses.

Nelson, H., Esq., Newcastle-upon-Tyne.
Newcastle-upon-Tyne Free Library.

Newton, Ed., Esq., 85, Gloucester Terrace, Hyde Park, London.
Nimmo, T. C, Esq., 12, Hillfield, Deptford, Sunderland.
Norcliffe, Rev. C. B., .M.A., Langton Hall, Malton.

Percy, The Rt. Hon. Earl, .Mnwick Castle (two copies).

Portman, The Rt. Hon. Viscount, Bryanston, Blandford.

Pape, Miss Helena, Moor House, Leamside.

Parrington, W., Esq., 58, Cannon Street, London.

Peace, M. W., Esq., Ashfield, Standish, Wigan (two copies).

Pease, J. W., Esq., Pendower, Newcastle-upon-Tyne.

Peele, R., Esq., The College, Durham.

Philipson, J., Esq., .M.I.M.E., 9, X'ictoria Square, Newcastle-upon-Tyne.

Ridley, Sir M. W., Bart., .M.P., Blagdon, Northumberland.

Reid, Sidney, Esq , Park Terrace, North Road, Newcastle-upon-T}'ne (two copies).

Reid, W. B., Esq., Cross House, Newcastle-upon-Tyne.

Ridley, ^L W., Esq., 10, Notting fliU Terrace, London, W.

LIST OF SUBSCRIBERS.

Robertson, C. D., Esq., Washingley, Peterborough.
Robertson, G. C, Esq., Widmerpool Hall, Nottingham.
Robinson, D. B. J., Esq., The Thorne, Penrith.
Robson, T., Esq., Lumley Thicks, Fence Houses.
Rodger, G., Esq., Michaelson Villa, Barrow-in-Furness,
Rogers, Rev. Dr., Roxwell Vicarage, Chelmsford.
Rogerson, Jno., Esq., Croxdale Hall, Durham.
Ross, Hj'., Esq., Chestham Park, HenfielJ, Sussex.

Stair, The Rt. Hon. The Earl of, Oxenford Castle, Dalkeith, X.B.
Scott, G., Esq., 55, Shield Street, Newcastle-upon-Tyne.
Sidebottom, J., Esq., F.S.A., etc., Erlesdene, Bowdon, Cheshire.
Smith, Rev. J. W., Dinsd.ale Rectory, Darlington.
Smith, W. J., Esq., 4i, North Street, Brighton.
Spence, R., Esq., North Shields.

Stephenson, Rev. Prebendary, Lympsham Manor House, Somerset.
Stockdale, T., Esq., i6, Denvent Street, Sunderland.
Sutherland, J. R., Esq., West Rainton, County Durham.

Tate, Miss, Southend, Durham.

Taylor, Hugh, Esq., Chipchase Castle, Wark-on-T3-ne.

T.iylor, J., Esq., Glenbuck House, Surbiton, London.

Thompson, T. C, Esq., Ashdown Park, Forest Row, Sussex.

Thring, Rev. E., School House, Uppingham.

Townsend, Rev. \V. J., 20, Oxford Street, Newcastle-upon-Tyne.

Walker, J. W., Esq., 14, York Road, Birkdale, Soulhport.

Westmacott, Percy, Esq., Benwell Hill, Newcastle-upon-Tyne.

Weston, W. J., Esq., Spring Street, Sydney, New South Wales (two copies).

Wharton, H. T., Esq., M.A., 39, St. George's Road, Kilburn, London, N.W.

Wilson, L N., Esq., The Oaks, Sunderland.

AViper, W., Esq., 8, Rock Terrace, Higher Broughton, Manchester (two copies).

AVood, Collingwood L., Esq., Freelands, Forgandennj-, N.B.

Wood, Lindsay, Esq., The Hermitage, Chcster-le-Street.

Wood, T., Esq., Fortis House, Muswell Hill, London.

W'oodhouse, W. H., Esq., I, Hanover Square, London.

YouU, J. G., Esq., 91, Jesmond Road, Newcastle-upon-Tyne.
Young, C. G., Esq., Netherlands Consul, Newcastle-upon-Tyne.
Younf, J. R., Esq., 20, Windsor Terrace, Newcastle-upon-Tyne.

LIST OF SUBSCRIBERS.

XXI

SMALL PAPER COPIES.

Arundel of Wardour, The Rt. Hon. Lord, Wardour Castle, Tisbury, \Yilts.

Acock, Mr. J. A., Bookseller, 21, Broad Street, Oxford.

Adams, Prof. J. C, Observatory, Cambridge.

Advocates' Library, Edinburgh.

Alexander, J. W., Esq., Post Office Chambers, Middlesbro',

Atkinson Free Library, Southport (three copies).

Atkinson, T. L., Esq., II, Hill Road, St. John's Wood, London.

Beauchamp, The Rt, Hon. The Earl, 13, Belgrave Square, London, S.W.

Backhouse, C. J., Esq., St. John's, Wolsingham, Darlington.

Baker, Rev. W. J. F. V., xM.A., The College, Marlbro'.

Baring-Gould, Rev. S., ^LA., Lew Trenchard, N. Devon.

Barnsley, A., Esq., 3, Liver Chambers, Liverpool.

Becke, Rev. J. H., M A., Wallington, Oakhill Park, Liverpool.

Bendelow, llr. W., Bookseller, 92, Duke Street, Barrow.

Benson, G. R., Esq., Langtons, Alresford, Hants.

Bewick, T. J., Esq., Haydon Bridge.

Boulton, B., Esq., The Bank House, Bishop Auckland.

Boyd, The Van. Archdeacon, M..\., Arncliffe Vicarage, Skipton, Yorkshire.

Bracken, W., Esq., Dee Bank, Braemar, X.B.

Braithwaite, G.F., Esq., Hawesmead, Kendal.

Brown, Mrs., Tostock Place, Bury St. Edmunds.

Bruce, Gainsford, Esq., Q.C., 2, Framlington Place, i\ewcastle-upon-Tyne.

Bruce, G. H., Esq., Sand Lodge, Shetland Isles.

Bumpus, Mr. J., Bookseller, 0.\ford Street, London (four copies).

Cranipton, Sir J. F., Bart., K.C.B., Bushey Park, Enniskerry, County Wicklow.

Calmady, V. P., Esq., Tetcott, Holsworthj-, X. Devon (two copies).

Cattley, Rev. A., Repton, Burton-on-Trent.

Central Free Librar)-, Sheffield.

Chapman, J. B., Esq., Percy House, Durham.

Cheetham, The \'en. Archdeacon, Rochester.

Chichester, The Very Rev. Dean of. Deanery, Chichester.

Cleghorn, J., Esq., 3, Spring Gardens, London, W.

CoUingwood, F. J. W., Esq., Glanton Pyke, Alnwick.

Compton, Rev. W. C, M.A., LTppingham, Rutland.

Cornish Bros., Messrs., Birmingham.

Cornish, Mr. J. E., 16, St. Ann's Square, JIanchester (three copies).

Cowen, Jos., Esq., M.P., Stella Hall, Blaydon-on-Tyne.

LIST OF SUBSCRIBERS.

Cox, Ed., Esq., Dundee.

Cox, Jas., Esq., D.L., J. P., Clement Park, Dundee (two copies).
Crewdson, E., Esq., Abbot Hall, Kendal (two copies).
Crossley, J., Esq., 19, Union Street, Halifax.

De Table}', The Rt. Hun. Lady, Tabley House, Knulsford, Cheshire.

Darnell, Rev. William, St. Leonards.

Davenport, E. H., Esq., 92, St. George's Square, London, S.W.

Dayman, Rev. Canon, Shillingstone Rectorv, Blandford.

Deighton, Bell, & Co., Messrs., Cambridge (two copies).

Douglas, T. J., Esq., AUonby House, Workington.

Driver, Rev. Dr., Oxfoid.

Dunn, ^L, Esq., 17, Lovaine Place, Newcastle-upon-Tyne.

Edlman, F. J., Esq., 3, Xew Broad Street, London.

Embleton, Dennis, Esq., M.D., 4, Eldon Square, Newcastle-upon-Tyne (two copies).

Erskine, David, C E., Esq., Linlathlen Broughty Ferry, N.B.

Foley, Rt. Hon. Lady Emily, Stoke Edith Park, Hereford.
Fayrer, Sir Jos., K.C.S.L, LL.D., M.D., F.R.S.
Ffytche, J. L., Esq., F.S.A., Thorpe Hall, Elkington.
Fitzherbert, Miss, Tifiington Hall, Ashbourne, Derb3-shire.
Foot, J. T., Esq., iS, Poland Street, Londnn, W.
Friends' Book Society, Kendal.

Grant, Mr. J., 25, George I\^. Bridge, Edinburgh.
Gray, Miss JL, Westward House, Ryton-on-Tyne.
Grey Mrs., Milficld, Woolen

Hamilton, Sir R. N. C, Bart., K.C.B., Avon Cliff, Stratford-on-.\\on, Warwickshire.

Hope, Sir J. D., Bart., Pinkie House, Musselburgh.

Hadow, Miss, 18, Southwick Street, Cambridge Square, Hyde Park, Lnndun.

Harbottle, W., E«q., 3, Hcene Terrace, Worthing, Sussex.

Hedley, AV H., Esq., .Medomsley, County Durham.

Hewlett, W. O., Esq., jg, Sutherland Gardens, London, W.

Heywood, A. H., Esq., Ellerey, Windermere.

Hillyard, Rev. T., Okeford, Bampton, near Devon.

Hineks, Mrs., Sen., Otterington House, Northallerton.

Hitrhman, Mr. Jos., Bookseller, 53, Cherry Street, Birniinghani.

Hoare, Jos., Esq., Child's Hill House, Hampstcad.

Hoare, Rev. J. S., Godstone Rectory, Surrey.

Hodges, Figgis, & Co., Messrs., I04, Grafton Street, London (t«o copies).

Holden, Mr. A., 48, Cliurch Street, Liverpool.

Holmes, R. H., I'^sq., 54, Ryehill, Newcastle-upon-Tyne.

Z/.SV OF SrnSCRIBERS.

Hdlmes, W. H., Esq., Wellbiirn, Jesmond, Xewcastle-upoii-Tj'ne.
Howard, Geo., Esq., M.P., Naworth Castle, Brampton.
Hume, A., Esq., D.C.L., 3, Shaw Street, Liverpool.
Hunt, Miss, Birtley House, Chester-Ie-Street.

Inthbold, S., Esq., Dove Villa, Garden Lane, London.

Jackson, T. G., Esq., 11, .\ottinc;ham riace, London.
Jarratt, Rev. Canon, North Cave, Brough, Yorkshire.

Kinnear, Mrs. W. Balfour, Burton Rectorj', near Lincoln.

Legge, Rt. Hon. Lady Caroline, Forest Lodge, Keston, Bromlc}', Kent.

Llanover, Rt. Hon. Lad}', Llanover, Ahergavenn)', South \\'alcs.

Lambert, Capt., F.S.A., 12, Coventry Street, London.

Lambton, Mrs. Dawson, The Node, Welwj-n, Herts.

Langlands, Miss, Edinburgh.

Leader, B. W., Esq., A.R.A., Worcester.

Lloyd, ]Mr-^. E., York (two copies).

Logan, AV., Esq., Langley Park, Durham.

Main, Mr. D. JL, 18, Exchange Square, Glasgow ("four copies).

Marks, H. Stacej', Esq., R.A-, 17, Hamilton Terrace, St. John's Wo. .J, London, .\.\\'.

Martin, Robt. F., Esq., Anstey Pastures, Leicester.

McCuUoch, W., E'sq., 26, Hackham Road, London.

Mounsey, E. B., Esq., Bank, Darlington.

Murray-Aynsley, Admiral, C.B., Hall Court, Botley, Hants.

Newton, Jliss Ann, Ryton-on-Tyne.

Nicholson, Rev. S. T., Springhead, Lees, Oldham.

Norman, Jno., Esq., Rotherby, Carlisle.

Oswald, Lady, Souihbank, Edinburgh.

Orde, W., t:sq., The Firs, Stralton, Cirencester.

Portman. The Rt. Hon. Viscount.

Peek, Sir H. W., Bart., 20, Eastcheap, London, E C.

Paget, T. T., Esq., M.P., Humberstone, Leicester.

Papillon, Rev. J., Le.xden Rectory, Colchester.

Pearson, H. G., Esq., Barrow-in-Furness.

Perrin, Rev. L., Blarney, County Cork.

Philipson, J., Esq., JLLM.E., g, Victoria Square, Newcastle-upon-Tyne.

Poole, Mrs., 21, Lansdown Crescent, Cheltenham.

Price, H. R., Esq., Down Lodge, Epsom.

LIST OF SUBSCRIBERS.

Ramsiiy, J. A., Esq., Thornle)' House, Trimdon Grange.

Robertson, Rev. A., Hatfield Hall, Durham.

Robinson, J., Esq., 6, Choppington Sueet, Newcastle-upon-Tyne.

Scarbrough, The Rt. Hon. The Countess of, Lumley Castie, County

Scarbrough, The Kt. Hon. The l-^arl of, Sandbeck Park, Rotherham.

Stafford, Sir I'^. \V., K.C.M.G., 4S, Stanhope Gardens, South Kensin:

Sample, T , Esq., Matfen, i\'e\vcastle-upon-Tyne.

Scarborough Philosophical Sociel\'.

Scorer, A., Esq., 29, Gloucester Street, Xewcastle-upon-Tyne,

Scott, Rev. Canon, \'ic.arage. New Seaham, Sunderland.

Shields, J., Esq., AVestern Lodge, Durham.

Signet Librarj', Edinburgh.

Skeat, Rev. Prof., 2, Salislairy \'illas, Cambridge.

Smith, W., Esq., 31, Esk Terrace, Whitby (two copies).

Southern, Rev. T., Glenhow, Saltburn.

Stark, J. E., Esq., Hebburn.

Steward, JMrs., Bowes House, Fence flouses.

Stockton-on-Tees Free Library.

Stone, Miss, 3, St. George's Fields, Canterbury.

Sullivan, Admiral Sir B. J., Tregew, Bournemouth.

Durham,
'ton, S.W.

Trevelyan, Lady, Wallington, Northumberland.

Townsend, Miss E., 5, Lovaine Place, Newcastle-upon-Tyne.

Townsend, Rev. W. J., Ncwcastle-U|ion-Tyne.

Waddilove, Miss, 1(5, Chalmers Crescent, Edinburgh.

Wallis, C;., Esq., F.S.A., 4, The Residences, South Kensington, London.

Watson, T. C, Esq., 16, Bewick Road, Gateshead.

West, T., Esq., S, Princes Terrace, Darlington.

Weston, 'W. J., Esq., Spring Street, Sj'dncj', New South Wales (three cojiies).

Wilkinson, Rev. W. II., Hensingham Mcarage, Whitehaven.

\Villis-Bund, Esq., M.A., 3, Stone Buildings, Lincoln's Inn, London.

Wilson, Mr. T., Aynam Lodge, Kendal.

Woodd, B. T., Esq., Conyngham Hall, Knaresboro'.

Woodman, W., Esq., East Riding, Morpeth.

■\Voolner, T., Esq., R..-\., :g, Welbeck Street. Cavendish Square, London.

Wright, Rev. G. Howard, 11, Clanricarde Gardens, Bayswater, London, \V.

Veatman, .Mrs., Stoke Gaylard House, Sherborne, Dorsets.

Part I,

ERRATA

PART I.
Page 27, fourth line, for " North Tyjie," read " South Tyne."

Page 32, foot-note. "Andrew Mills' stob." The Author finds that this entry alludes to a gibbet,
near Ferryhill, County Durham, part of which was still remaining at the time
of Bewick's visit, whereon was hung, in the year 16S4, a man named Andrew
Mills, for the murder of his master's children. — See Sykes' Local Records.

Page 52, third line, /)?■ "J. Bewick" read " T. Bewick."

Page 52, in foot-note, for "father of the Lady Bloomfield," read "grandfather," and for
"grandfather of the present Earl of Ravensworth," read "great-grandfather."

P^?s 55) in foot-note, for "Thomas Hodgson, Esq.," read "John Hodgson, Esq."

Page 74, first line, for "water-colour study," read " oil study."

Pages 73 and 106. Isaac Nicholson and William Nicholson. The Author regrets having
confused together these two distinct artists. Isaac Nicholson, the wood
engraver, and pupil of Thos. Bewick, was not a portrait painter. William
Nicholson (whom Redgrave informs us, was born at Newcastle-upon-Tyne,
in 1784, and died in Edinburgh, 1844,) was a portrait painter, and one of the
founders of the Royal Scottish Academy. Mr. Wm. Dodd remembers William
Nicholson, and says he was a friend of Charnley the bookseller, as well as Mr.
Bailey and Thos. Bewick. Nicholson painted for Charnley the Bewick
portrait now in the possession of Mr. T. E. Crawhall, and from which he
has recently had an etching taken by Leopold Flameng.

PART II.
Page g6, Plate XV'II., for "Rev. E. H. Adamson " read "John Adamson, Esq."

' '^'''■"^■^v Km-'.

■^"ir,, SbfiTitr il''.'-'' "

ulp'

/hcHc^-

BIRTH AND PARENTAGE.

Life of Thomas Bewick.

" O now that the genius of Bewick were mine,
And the sl<iU which he learned on the Banks of the Tyne !
Then the ATuses might deal with me just as they chose,
For I'd take my last leave both of verse and of prose.

What feats would I work with my magical hand !

Book-learning and books should be banished the land :

And for hunger and thirst and such troublesome calls,

Every ale-house should then have a feast on its walls." — WoKDSWORTH,

in his L)Tical Ballad of The Two Thieves.^ or the
Last Stage of Avarice.

CH--\PTER I.

Thomas Bewick, afterwards destined to become the reviver of wood-cutting,
and the greatest wood engraver of his day, was born in the year 1753, at
Cherryburn, a house situated ahnost midway between Newcastle and Hexham,
on the southern bank of the Tyne, and overlooking that river.

He was descended from the northern yeomanry, a race hardy in con-
stitution, independent in thought, resolute and determined in action, grave in
manner, slow in speech, though full of humour, and with a directness that goes
straight to the point. They are shrewd, withal, and have an eye to their own
interests, and their bearing has a kind of rough dignity that, whilst it com-
mands respect and speaks of self-respect, is willing to concede respect to
others. A habit of thoughtful reflection, with strength of body and strength
of mind, dogged perseverance, tenderness of feeling, a little obstinacy, and a
great deal of pride are the natural results of such an ancestry ; and such, in
an eminent degree, were the characteristics of Thomas Bewick to the end of
his days. Love of his own people and his native Tyneside seems to have been
engrained in his very being. It was, therefore, a wise and wholesome instinct
which led him to quit the Metropolis, where ambition had led him to try his
fortune, and where others assured him he could alone attain professional fame.
He returned* with a determination to achieve it at home, or at any rate to live
his own life, and work his own way, among his own people. His bones were

• Years after his return home he wrote to his friend Phil. Gregson praying him to " lap up"
and leave London, adding "for my part I am still of the same mind that I was when I left
London, and that is / would rather lie herding sheep on Micilev lank top than remain in London,
although for doing so I was to be made premier of England." — Memoirs of T. Bewick, by himself.

LIFE OF THOMAS BEWICK.

ultimately laid in the parish where he was born, among the kindred whom he
loved, and under the shadow of the church where he had played many a mis-
chievous prank, and the belfry in which he was once locked up as a punishment
for his boyish misdemeanours.

Thomas was the eldest of a large family. His father, and grandfather
before him, had farmed lands and held a small "landsale"* colliery near their
home at Cherry burn. Pitmen were employed to work the coal, and Thomas as
a boy seems to have enjoyed pla3'ing practical jokes upon them. He generally

Cherrybukn, Bewick's Bujth-place.

From an electrutype, after ii drawing by his pupil,
John Jacl<son, 183S.

worked on their fear of seeing ghosts, a fear very prevalent at that day in the
North of England, and one from which he himself does not seem to have been
altogether free.f His grandfather, he tells us, "had the character of being one

* TItat is to say, one worked on a small scale to supply the neighbourhood, not in a larjje
way fur export ; the coals being sold at the pit's mouth and carted away, not consigned to agents
at the sea ports.

f " The stories so circumstantially told respecting these phantoms and supernatural things
1 listened to with the dread they inspired, and it took many an effort, and I suffered much, before
it could be removed. What helped me greatly to conquer fears of that kind was my knowing
that my father constantly scouted such idle, or indeed, such pernicious tales. He would not allow
me to plead fear as any excuse when he had to send me an errand at night ; and, perhaps, my
being frequently alone in the dark, might have the effect of making me rise superior to such
weakness." — Manoirs.

HIS FATHER.

of the most intelligent, active, and best farmers on Tyneside, and it was said
that by his good management and great industry he became very rich ; but,
except his being an expert angler, I know little more about him."

His father was a man of the same stamp, and much respected amongst his
neighbours, but, perhaps, also a little feared. His son says : " In person he was
a stout, square made, strong and active man, and through life was a pattern of

health." He used to "won-
der how folks felt when
they were ill. He was of
a cheerful temper, and he
possessed an uncommon
vein of humour, and a
fimd of anecdote. He was
much noticed by the gentle-
men and others of the
neighbourhood for these
qualities, as well as for his
integrity." He seems to
have been rather severe
with his son, but this per-
haps was necessary as the
lad was spirited and full of
mischief. At any rate he
succeeded in inspiring the
boy with wholesome re-
spect as well as affection
for him. Thomas grew up
to love his home, his father,
and his mother with an
ever-increasing regard; and
week after week, as long as the old people lived, he never failed to turn his
steps to«'ards Cherryburn, and spend some part of the week-end by their fire-
side in their company.

John Bewick, his father, was a young childless widower, when he met
Jane Wilson, who afterwards became his second wife. She was born in 1727,
and was the daughter of Thomas Wilson, a respectable man who lived at
Ainstable, in Cumberland. Whether the latter was curate or parish clerk
his grandson tells us he does not know. This much is certain, however,
that he kept a school there and taught his sons, and his daughter Jane.

(From the Bewick Sale, 215.)
Colliery and Keels on Tvnesii>e.

The same desiojn as at page 14S, British Birds, \'ol. II.,
where it may be found beneath the notice of the Coot. This
little scene is thoroughly characteristic of Thomas Bewick's
feeling for Tyneside. The hall is very like Close House,
which stands on the opposite side of the river, not far from
Cherryliurn, and is the seat of his namesake, Mr. Bewick.
The colliery might be his father's own collier}' at Mickley, or
Wylam where George Stephenson was born, for both are near
Close House. The "staith," or staging from which waggons
of coals are tipped into the keels, and tiie keel itself stranded
in the foreground, must have been amongst the earliest
objects familiar to his eye. A keel is a great, wide, fiat-
bottomed boat — black, as befits its occupation of carrying
coals down the Tyne to be shipped at Shields. The old
north country song and well-known air, " Weel may the keel
row,'" is characteristic of the keelmen, who are a race possessing
habits and customs of their own."

LIFE OF THOMAS BEWICK.

Latin ; when he died, and his eldest son, Christopher, succeeded to his small
freehold property — a house and some fields, his daughter turned her education
to good account. For a time she was adopted by Mrs. Gregson, of Appleby,
a distant relative, but she soon found occupation as housekeeper to the Rev.
Christopher Gregson,* vicar of Ovingham, and master of a school attended
by many boys in that neighbourhood.

OVINGHAM-ON-TVNE.

From an electrotype, after a drawing by his pupil,

John Jackson, in 1838.

Jane soon proved herself invaluable to her master, not only in his domestic
but also in his professional affairs, being, on occasion, able to hear the boys
say their Latin lessons. At Ovinghamf she married John Bewick, in 1752,
antl went tn live with him on the opposite side of the river, at Cherryburn.
In August, I 753.1 their eldest child, Thomas, the subject of this memoir, was
born. In infancy he seems to have been much spoilt by his paternal grand-
mother, Agnes Bewick, § and it was perhaps, in consequence of this, that
he was sent, when very 3-oung, to Mickley school, not so much with a view to
learning as to keep him out of " harm's way." There he seems to have

* See liis portrait. No. 208 Bewick sale blocks.

t Where the register of her marriage still exists.

X Baptised.

§ " My grandmother's maiden name was Agnes Arthur, the daughter of a laird of that name,
at Kirkheaton, at which ])lace my father was born, in the year 1715, while his mother was there (1
believe^ on a visit to her friends." — Memoirs.

HIS SCHOOL DAYS.

made but little progress. The master being harsh and severe, and without
any faculty for teaching, until at last little Thomas broke out in open
rebellion, and systematically played truant. Fortunately, the ne.xt master,
James Burn, was a man of different mould. ''With him," he says, ''I was
quite happy, and learned as fast as any other of the boys, and with as great
pleasure." On his death a short time afterwards, Thomas was '' put to school,"
as he expressed it, under the care of his mother's old friend and master, the
Rev. C. Gregson, of Ovingham, and now for the first time he began to show
signs of his future talent. He says : —

"Well do I remember tlie conversation that passed between them* on the occasion. It
was little to my credit ; for my father began b}' tellingf him that I was so very unc^iiidable that
he could net manage me, and he begged of mj- new master that he would undertake that task, and
thej' both agreed that 'to spare the rod was to spoil the child.' This precept was, I think, too severely
acted upon, sometimes upon trivial occasions, and sometimes otherwise. I was for some time
kept at reading, writing, and figures — how' long I know not; but I know that as soon as my
question was done upon my slate, I spent as much time as I could find in filling with my pencil
all the unoccupied spaces, with representations of such objects as struck mj' fancy, and these were
rubbed out, for fear of a beating, before my question was given in. As soon as I reached
fractions, decimals, &c., I was put to learn Latin, and in this I was for some time complimented
by my master for the great progress I was making ; but, as I never knew for what purpose I had
to learn it, and was wearied out with getting off long tasks, I rather flagged in this department of
m}' education, and the margins of my books, and every space of spare and blank paper, became
filled with various kinds of devices or scenes I had met with ; and these were accompanied with
wretched rhymes e.xplanatory of them. As soon as I filled all the blank spaces in my books, I had
recourse, at all spare times, to the gravestones and the floor of the church porch, with a bit of chalk,
to give vent to this propensity of mind of figuring whatever I had seen. At that time I had never
heard of the word 'drawing;' nor did I know of any other paintings besides the King's Arms in
the church, and the signs in Ovingham of the Black Bull, the White Horse, the Salmon, and the
Hounds and Hare. I always thought I could make a far better hunting scene than the latter:
the others were beyond my hand. I remember once of my master overlooking me while I was very-
busy with my chalk in the porch, and of his putting me very greatly to the blush by ridiculing
and calling me a conjurer. My father, also, found a deal of fault for ' misspending my time in such
idle pursuits ; ' but m}' propensity for drawing was so rooted, that nothing could deter me from
persevering in it; and many of my evenings at home were spent in filling the flags of the floor
and the hearth-stone with my chalky designs. After I had long scorched my face in this way, a
friend, in compassion, furnished me with some paper upon which to execute my designs. Here I
had more scope. Pen and ink, and the juice of the bramblcberry, made a grand change. These
were succeeded b)' a camel-hair pencil and shells of colours; and, thus supplied, I became
completely set up ; but of patterns or drawings I had none. The beasts and birds which enlivened
the beautiful scenery of woods and wilds surrounding my native hamlet, furnished me with an
endless supph' of subjects. I now, in the estimation of my rustic neighbours, became an eminent
painter, and the walls of their houses were ornamented with an abundance of my rude productions,
at a very cheap rate. These chiefly consisted of particular hunting scenes, in which the portraits of the
hunters, the horses, and of every dog in the pack, were, in their opinion, as well as my own, faith-
fully delineated. But while I was proceeding in this way, I was at the same time deeply engaged in
matters nearl}- allied to this propensity for drawing, for 1 early became acquainted, not only with
the history and the character of the domestic animals, but also with those which roamed at large.
The conversations of the Nimrods of that day, in which the instincts and peculiar properties of
the various wild animals were described in glowing terms, attracted my keenest attention; and to
their rude and lengthened narratives I listened with extreme delight. With me they made a
winter's evening fly fast away. At holiday times, and at other times, when prevented by the
floods of the Tyne from getting across to school, 1 was sure, with the most ardent glee, to make

* His father and Mr. Gregson.

LIFE OF THOMAS BEWICK.

one of the number in the hunting parties which frequently took place at that time; whether it
might be in the chase of the fox or the hare, or in tracing the foumart in the snow, or hunting the
badger at midnight. The pursuing, baiting, or killing, these animals, never at that time struck
me as being cruel. The mind had not as yet been impressed with the feelings of humanity. This,
however, came upon me at last; and the first time I felt the change happened by my having (in
hunting) caught the hare in my arms, while surrounded by the dogs and the hunters, when the
poor terrified creature screamed out so piteously — like a child — that I would have given anything
to have saved its life. In this, however, I was prevented ; for a farmer, well known to me, who
stood close by, pressed upon me, and desired J would 'give her to him;' and from his being
better able (as I thought) to save its life, 1 complied with his wish. This was no sooner done
than he proposed to those about him 'to have a bit more sport with her,' and this was to be done
by first breaking one of its legs, and then again setting the poor animal off a little before the dogs.
I wandered away to a little distance, oppressed by my own feelings, and could not join the crew
again, but learned with pleasure that their intended victim had made its escape." —JA?»t?//-5.

A few pages further on Bewick tells us the second incident which de-
veloped the humane feelings of his kind heart. He says :—

"J have before noticed that the first time that I felt compassion for a dumb animal was
my having caught a hare in my arms. The next occurrence of the kind happened with a bird.
I had no doubt knocked many down with stones before, but they had escaped being taken.
This time, however, the little victim dropped from the tree, and I picked it up. It was alive,
and looked me piteously in the face ; and, as I thought, could it have spoken, it would have
asked me why I had taken away its life. I felt greatly hurt at what I had done, and did not
quit it all the afternoon. I turned it over and over, admiring its plumage, its feet, its bill, and
every part of it. It was a bullfinch. I did not then know its name, but I was told that it was
a 'little Matthew iMartin.' This was the last bird I killed, but many have been killed since on
my account." — Menioijs.

Many other incidents show us how rapidly the character of the boy,
vigorous, earnest, and observant, was being developed by the happy combin-
ation of circumstances around him.

" The first time I took notice of any of my female school-fellows arose from a reproof I
met with, and the manner it was given, from one of them. The amiable person alluded to was
Miss Bett)' Gregson, my preceptor's daughter, and somewhere about my own age. She kept a
messet dog, and the sleek, fat, useless animal was much disliked by me, as well as by some of the
other boys. When it made its appearance in the church-yard, which it sometimes did, we set
about frightening it ; and, for this purpose, some of us met it at every gate and outlet, and
stopped its retreat till it became quite distressed. The last time that this kind of sport was
practised on the little dog I happened to be the only actor. Having met with it at a little distance
from its home, I had stopped it from entering the house, and had pursued it about and about, or
met it at the end of every avenue, till it was put into gieat ' bodily fear.' This behaviour towards
her little favourite was very offensive to Miss Gregson. She could endure it no longer, and she
called me to account for it. I can never forget her looks upon the occasion. She, no doubt,
intended to scold me, but the natural sweetness of her disposition soon showed itself in its true
colours. She did not know how to scold ; for, after some embarassing attempts at it, and some
hesitation, she put me in mind of my being related to her, and of her uniform kindness to me,
and with irresistible arguments and persuasions, made me see the impropriety ol my conduct.
With me this left its mark, for, from that time forward, I never plagued any of the girls at
school, nor did anything that might give them offence ; nor has this impression ever been eflaced
from my mind, but has been there fostered through life and settled into a fixed respect and
tender regard for the whole sex.

"The 'musical din' of the hounds still continued to have its charms, and I still continued
to follow them ; but from that day forward, I have ever wished that this poor, persecuted,
innocent creature* might escape with its life. The worrying of foxes, the baiting ol foumarts,
otters, badgers, &c., did not awaken in me similar feelings, for in the fierce conflicts between

• The hare.

HIS SCHOOL DAYS.

them and the dogs there was something like an exchange of retaliation, and not unfrequently the
aggressors were beaten ; and I have with pleasure seen that wondcrt'uUy courageous animal, the
badger (with fair play), beat the dogs of a whole neighbourhood, one after another, completely off.

"In the vermin hunting excursions in the depth of n-inter, while the whole face of nature
was bound in frost and covered with deep snow, in traversing through bogs, amidst reeds and
rushes, I have often felt charmed with the sight of birds, flushed, and sometimes caught, by the
terrier dogs, which I had never seen or heard of before, and I am still in doubt whether some of
them have not escaped being noticed as British birds. .........

" These were the diversions of the winter months, which I enjoyed in an extreme degree,
amidst the storm and the tempest. ............

"At that time of life every season has its charms, and I recollect well of listening with
delight, from the little window at my bed-head, to the murmuring of the flooded burn which
passed m}^ father's house, and sometimes roused me from my bed to see what it was like.

"The winter evenings were often spent in listening to the traditionary talcs and songs re-
lating to men who had been eminent for their prowess and bravery in the border wars, and of others
who had been esteemed for better and milder qualities, such as their having been good landlords,
kind neighbours, and otherwise in every respect bold, independent, and honest men. I used to
be particularly affected with the warlike music, and with the songs relative to the former descrip-
tion of characters, but with the songs regarding the latter, a different kind of feeling was drawn
forth, and I was greatly distressed, and often gave vent to it in tears. These songs and ' laments'
were commemorative of many worthies ; but the most particular ones that I now remember were
those respecting the Earl of berwentwater, who was beheaded in the year 1715, and was looked
upon as having been a victim to the cruelty of the reigning family, and who was venerated as a
saint upon earth. It was said that the light from heaven attended his corpse to the vault at
Dilston Hall, and that prosperity would shine no more on Tyneside. 'Then followed the
sorrowful remembrances of those that were dead and gone. To sigh over them were unavailing;
they had filled the space allotted to them on this side of Time, and the winds had blown over
their silent graves for ages past. The predictions that the mansions of those that remained
would soon for want of heirs* be desolate — these, and such like reflections, made a deep impression
on my mind ; and I have often since, with feelings of extreme regret, beheld these mansions,
once the seats of hospitality, dilapidated, and the families which once occupied them, extinct and
forgot ten . " — Memoirs.

This profound feeling of romantic regret for the " Good Earl " continued ewcastle
after I had done work — 7 o'clock — on a winter's night, and of setting off to walk to Cherryburn.
In this I was stimulated by an ardent desire to visit my parents as often as possible ; and the
desire continued to act upon me as long as they lived." — Memoirs,

The business to which he was apprenticed was a very multifarious one,
consisting of every branch of the engraver's art, from the manufacture of door-
plates, sword-blades, and clock-faces, to seal engraving, die sinking, shop cards
and bar bills, heraldic devices on silver plates, coffin plates, and mournmg

* The Side is a steep and narrow street, with ancient over-hanging houses, where the
Newcastle merchants used to live in bygone days. It leads up into the town from the Sandhill
and the old Bridge and Quay, whence, on a November night, in the year of grace 1772,
while Bewick was a lad, serving his apprenticeship, pretty Bessie Surtees eloped through a
window of her father's house with John Scott, who, before many 3'ei.rs were over, was
able to make her Lady Eldon, wife of the Lord Chancellor of England. The Side is but a dirty,
disconsolate sort of place now, but in those days, before the Dene was filled up and Dean Street
made, or ever the High Level Bridge was thought of, it formed the principal and busiest entrance
to the town from the old Tyne Bridge, across which the coaches and chariots of other days used
to rattle. A very animated picture of its more stirring times has lately been published by Mr.
Garland of Grey Street.

\ The Black Gate is very interesting, and, alas ! almost the last relic, except the Keep, of
old Newcastle which has been allowed to survive. It has just been rescued from decay (and the
destruction to which it had been doomed) b)^ the care and energy of the Newcastle Society of
Antiquarians, who have cleaned and repaired it sufficiently for it to be formed into a museum fit
to receive part of their antiquarian treasures, and they are now arranged there in a manner con-
venient and accessible to the world at large.

LIFE OF THOMAS BEWICK.

rings, up to an occasional frontispiece to a book or an illustration in it.
Nothing came amiss. i\nd such was the business he inherited and continued
to the end of the chapter.* It must never be forgotten that Bewick had his
living to make, and that he did not make his living out of his books. The
world of to-day knows him as the great wood-engraver of the History of
Quadrupeds, the Fables, and, above all, of the Birds ; but these were the
blossoms and flowers of his life, not the solid roots from which he drew
his sustenance. The world of his day knew him much more familiarly as the
clever, hard-working craftsman, to whom they could apply for any ordinary
"job" they wanted, certain that it would be executed with "punctuality
and despatch." Drawing or watercolour drawing, such as he afterwards
attained to, was not considered a necessary part of his education ; therefore,
we need not feel surprise when he tells us he never received a lesson in
his life, although two of the Beilby brothers used to give drawing lessons
at this time. Nevertheless, he must have "picked up" much casual instruction
from living in an artistic family, and this the Reilbys unquestionably
were. The old father had been a silversmith in Durham, but not having
prospered had retired to Gateshead in rather broken circumstances. He had,
however, taken care to give his children a good education and they soon
repaid him, by again lifting the family into a state of prosperity. The eldest,
Richard, had served his time in Birmingham as a seal engraver; and on his
return, taught the craft to his younger brother Ealph, Bewick's master,
while William, the second son, learned enamelling and painting at the same
place, and afterwards instructed his brother and sister, Thomas and Mary, so
that the whole family were soon able to do something towards its maintenance.
The father and Richard died at Gateshead, and an opening taking place in
Newcastle, Ralph began the business to which Bewick was apprenticed. The
whole family lived together, and as, amongst their other avocations, William
and Thomas gave drawing lessons, Bewick, even without any regular teaching,
must have felt the influence of a more artistic atmosphere than he had hitherto
enjoyed, and could not fail to derive benefit from it. As Mr. Thomson truly
observes, his way must have been greatly smoothed by seeing the constant
use of pen and pencil going on around him.

Copeland's Heraldic Ornaments was given him as an exercise to copy,
and he says — " This was the only kind of drawing upon which I ever had a

* See his letter to Miss Bailej-, where, so Lite as 1S14, in the zenith of his fame, and sur-
rounded by pupils, he complains of taking cold "doing a lot of coarse jobs, such as bottle-moulds ;"
and adds, " This is very hard work and heats me very much ; there is more labour and exertion
used in doing them than in breaking stones for a turnpike road, and the work is full as stupid ;
but coarse as the}' are, they are jobs from friends, and coarse as they are, I think nobody except
Mr. Beilby or myself can do them.'

HIS APPREXTICESHIP.

lesson given me by anyone." At this time wood engraving had sunk to a very
low level. These were the palmy days of copperplate engraving, when works
of the very highest character were being issued from the French, Italian, and
English schools. But wood-cutting had become despised. No master, like
Albert Diirer, condescended to draw designs for it, and broadsides, newspaper
cuts, and cheap productions for the poor, were the utmost for which it was con-
sidered fit. Such work, however, came occasionally in Beilby's way; and a
certain Charles Hutton, mathematician — whose benevolent features may still
be seen in the bust of him possessed by the Literary and Philosophical Society
of Newcastle — chose to illustrate the Ladies' Diary which he at this time edited,
and his more elaborate work, ^ Treatise on Mensiiratioti, with diagrams cut in
wood. At first Bewick was employed in cutting out roughly the corners from
the diagrams which had been previously drawn on the wood, without being
allowed to approach too closely to the lines, which, when thus prepared, his
master used to take in hand, and finish himself. But he soon made such rapid
progress, that Ralph Beilby, who preferred ornamenting silver with " the
elaborate chasing in which he really excelled," trusted him to complete the
blocks, from first to last, by himself. This took place during the years j 768-70,
and in Hutton's Mensuration may undoubtedly be seen the first efforts of
Thomas Bewick in wood engraving ; but they are highly uninteresting. Even
the oft-referred-to diagram of St. Nicholas' Church, is exceedingly rude and
inartistic, as well as out of perspective (however, that was probably Mr.
Hutton's fault), and the Bewick collector who does not possess a copy of this
rather scarce work need not regret its absence from his shelves.* In 1822,
Dr. Hutton published an account of this book, in which he lays some claim
to having introduced the art of wood-cutting into Newcastle. He had seen the
process of cutting similar diagrams in London, and says he explained the
process to Mr. Beilby, and procured the blocks of boxwood, and tools proper for
cutting and engraving them, with instructions how the latter should be used.
No doubt he did so, but perhaps Mr. Beilby was quietly smiling at his zeal all
the time ; for, from a volume of unique impressions, taken from all the blocks
in Mr. Angus' printing office in Newcastle, at an early date (now in the
possession of the editor), it is evident that wood-cuts and wood-blocks of a more
or less rude stamp, were well known, and frequently made and used in New-
castle before this time. The tools, it seems, had hardly been to Bewick's
mind, for he invented, it is said, for these very diagrams, a double-pointed
graver. Mr. Atkinson,! in his SketcIi,X tells us — " Bewick thought of making

* A copy maj'be seen in the library of the Literary and Philosophical Society at Newcastle.

t George Clayton Atkinson, Esq., who lived for some time at Wylam, and under Bewick's
instructions became an excellent amateur wood engraver. J Read before the Newcastle Natural
History Society, and published in the quarto volume of their Transactions for 1S30.

LIFE OF THOMAS BEWICK.

a chisel with two points,* which, being immovable, would not fail to produce
a line of equal thickness. There was a difficulty. No one could make him a
tool sufficiently fine ; here, however, his ingenuity again befriended him, for
he covered the steel with a coat of etching-ground, and by the application of
an acid easily procured a cavity of requisite form, and found the tool answer
every expectation. From this time he devoted himself more exclusively to
wood engraving. His success in cutting the figures for Dr. Hutton, and their
easiness of execution when compared to the heavy laborious work he had been
before engaged in on metals, gave a bias to his inclinations which led him
almost entirely to relinquish the other branches of the art in favour of wood
engraving."

Thomas Bewick's Box of Tools, especially engraved for this work hy the kind permission of
Joseph Crawhall, Esq., to whom they were presented by Miss Bewick.

Bewick himself tells us of his master: — " He undertook everything, which
he did in the best way he could. He fitted up and tempered his own tools, and
adapted them to every purpose, and taught me to do the same." This habit
Bewick maintained through life ; it gave him greater range and adaptability
than other men, and lends a double interest to the box of tools which the kind-
ness of the owner has permitted the Editor to have engraved for this volume.

* Of these double-pointed tools, some still exist in the box engraved above.

HIS APPRENTICESHIP.

Soon after this the old hostelry* of " St. George and the Dragon," at
Penrith, wanted a bar-bill, and Bewick executed a representation of their sign

on wood, which attracted much
attention. It was followed by
one of "The Cock," for an old
inn of that name at the head
of the Side, in Newcastle, next
door to Beilby's workshop, and
now orders for wood blocks
began to pour in. Bewick says,
"In this branch my master was
very defective. . . . He
did not like such jobs, on which
account they were given to me."
Mr. T. Saintf noticed the young
apprentice, and thought him
exactly adapted to illustrate the
many little children's books the
publication of which, in rapid
succession, he was at that time
commencing. The Editor is
here able to give| some genuine
and very interesting work of
Thomas Bewick's at this early
date, in which may be noticed
the germ of what- was afterwards
expanded into the History of
Quadrupeds.

* Still in existence. The Editor
spent a couple of days there in 18S4.

f A leading bookseller in New-
castle, successor of White, the printer
and publisher of Bourne's celebrated
{oWo History of Newcastle, 1736. The
local publishers were a noted and
enterprising set of men in those days.

\ Thanks to the generous kindness

of Doctor Smith, who placed the whole

of his valuable collection of blocks at

the Editor's disposal for selection.

passed out of use and remembrance. Doctor

Johnson defines \x.—^'''v,ol^^oo\{horn:vn&bock\ the first book of children covered with horn to

ind he nuotes passages from Shakespeare \_L(rve s labour Lost], Locke, and

(Lent by Robert Smith, Esq., M.D.) Hornbook ||
.Mphabet, from Pruddah's office, Hexham.^ From
Hugo's collection. Hugo says, of this one,
".\ very clever series."

This old English word has now almost

keep it unsoiled," and he nuotes passages
Prior, to illustrate this definition.

LIFE OF THOMAS BEWICK.

jyi, was followed bv Spelling
1 kinds, Fables in Verse and

A New Lottery Book of Birds and Beasts, i
Books and Moral Instructions, story books of a
Fables 11)1111 Reflexions, in such
bewildering succession that the
Editor feels the general reader
will not care for a minute critical
description of them, while the
Bewick student who wishes to
make the collection of these
children's books a speciality
can find all the instruction he
requires in the exhaustive cata-
logues of Hugo, and amidst the
learned researches of Croal
Thomson, Pearson, and Chatto.
The general style of his Avork
at this time, and its gradual
development, can, however, be
judged of in the representative
cuts given here to illustrate this
period of his life ; and let no
one despise these first efforts of
our artist's graver. They dis-
play invention of no common
order, when we reflect that they
are each exactly adapted to con-
vey the meaning of the separate
words they illustrate, in the
simplest and most direct form
to a childish mind, and imprint
the idea indelibly, when once so
conveyed, on an infant memory.
What, for instance, can be more
terribly graphic than the illus-
tration to a "phrentick?" What more orderly, attentive-looking, and clerkly
than that of the "scribe," with which the poor " phrentick" is contrasted.'
The pictures of the familiar cradle, the tempting strawberry, and the forbidden
knife, were doubtless never forgotten by our grandfathers, who first beheld
them ; and these, be it remembered, all came from the exercise of observation
on the part of a boy of barely fifteen or sixteen years of age.

(Ll-iU by Rutiert Smith, Esq.) Hornbook Alphabet,
from York. Hug^o says of it, " Some cuts of
this series are extremely beautiful."

HIS APPREMICESHJP.

LIFE OF THOMAS BEWICK.

(From the Editor's collection.) Eight cuts from T/ie Foundlings published by Solomon Hodgson.
They passed from his office to the Hugo collection.

HIS APPREXTICESHIP.

-1, ''-il ■': r

(From the Editor's collection.) From the original blocks by Thomas Bewick, for the six illustra-
tions in the History of Little Red Riding //i)Ofl'," square iSmo., printed by T. Saint for W. Charnley,
1777. Formerly in the Hugo collection. Excellent examples of Bewick's early work.

The Old Man axp Di-.ath. (Nuw in the Editor's cullection, formerly

(In the PMitor's collection, from the in that of J. VV. Ford, Esq.)

Hugo sale, No. 3S9.)

This is quite a diiTerent treatment of the subject to that at page 251,

Select luiblcs. now in the possession of the Kev. E. Pearson. There it seems

to be a rich man, here, a poor one, who is called to take the unwelcome

journey. Compare Bewick's different treatment of a skeleton, and the

inimitable expression he could throw into it, by examining "The Court of

Death," at page 2S1, Select Fables.

(Lent by Charles Lilburn, Esq., of Sunderland.
From the Hugo collection.)

(In the collection of the Editor.)

This last woodcut of a group of men eating under a rude shed, and while
their dog looks patiently
for some food a wolf is
peering angrily round the
corner, appeared in Kay's
A^nv Preceptor, printed for
M. Angus and Son, New-
castle, 1 80 1. An amateur
collectorand excellent judge
writes to the Etlitor— " This
is one of the finest cuts in

the lot, and evidently by ,

rp, r) • 1 II (l.cnl In koL.l. hnnili, Esq., iM.I). This series, from tiic 11 uy

1 nomas i^ewick. collection, was obtained by him from Mr.Wm. Uodd.)

HIS APPRENTICESHIP.

(Letit by Robert Smith, Esq., M.D.)

Speaking of these, and one or two other cuts, Hugo says : —

" This page contains an unsurpassable series of specimens of Bewick's early work. Or one,
very far from the best, representing ' Samson and the Lion,' he thought proper to place his ' T.B.' ;
and here is one of his earliest representations of the ' Huntsman and Old Hound'; another
illustrates the fable of the ' Shepherd Boy and the Wolf.' "

1 1 1 1 1 1 mi I im I

" ' ' ' ' This is exactly the same

design, but a different block to
that used at page 201, Select
Fables, now in the possession
of the Rev. E. Pearson. It
also differs slightly from the
celebrated wood block which
gained Bewick a prize in 1775.
which was cut for Saint's edition
of Gay^s P'nbles, not published
until 1779.

HoTiSEMAN AND Olp Hounp. — Select Fahles. (From the Editor's collection.)

(Formerly lent by J. W. Ford, Esq., to the Fine Art Society, for their illustrated "Notes" on the

Loan Exhibition of Thomas Bewick's Works, 1881, page 5. 300 copies only printed.)

LIFE OF THOMAS BEWICK.

As we have seen,
Bewick habitually re-
peated the idea of a design
again and again, whenever
he found it a useful one,
but almost always varied
some detail, and intro-
duced some improvement
as it suggested itself.

Bewick tells us : —

(Lent by Robert Smith, Esq., M.D.)

sent
and

(Lent by Robert Smith, Esq., M.D.)

"Some of the Fahle cuts were thought so well of by my master that he, in my name,
impressions of a few of them to be laid before the Society for the Encouragement of Arts, &c.,
I obtained a premium. This I
received sliortly after I was out
of my apprenticeship, and it was
left to my choice whether I would
have it in a gold medal or money
(seven guineas). I preferred the
latter ; and I never in my life felt
greater pleasure tiian in presenting
it to my mother. On this occasion,
amongst the several congratulations
of kind neighbours, those of Mr.
Gregson, my old master, stood pre-
eminent. He flew from Ovingham,
when the news first arrived, over
to Eltringham, to congratulate my
father and mother, and the feelings
and overflowings of his heart can
be better imagined than described."
— Memoirs.

The cut that is always said to have especially gained him this premium
was one of the " Huntsman and Old Hound." It was a favourite subject, which
Bewick must have reproduced almost a dozen times, from the number of blocks
(all differently designed) that came from his hand, and are still in existence.

After living for some time as a member of his tnaster's family, a disagree-
ment on domestic matters with one of the Beilby brothers (not Ralph) induced
them to allow Bewick to withdraw from boarding with them. He at first went
to lodge with his aunt, Mrs. Blackett, where he lived for gd. a week, bringing a
brown loaf from Ovingham after each weekly visit there, and enjoying a plenti-
ful supply of milk, since his aunt, being the widow of a freeman, had the right of
pasturing a cow on Newcastle Town Moor. He afterwards lodged with a fla-x-
dresser and bird-fancier, named Hatfield. From the bird-fanciers who came
about the house he gathered with eager interest much curious information ;

HIS APPRENTICESHIP.

but Hatfield also allowed "tramps and scamps" to lodge on his premises, whose
conduct, Bewick tells us, was wicked in the extreme ; the proper effect, how-
ever, was produced upon him, for he looked upon their behaviour with the
utmost disgust. Not only thus in boyhood, but as we find afterwards in man-
hood, when brought into contact with the coarser side of London life, Bewick's
strong healthy principles and sound common sense seem ever to have revolted
from all that was degrading to his moral nature, and so he was kept free from
the vice he constantly saw around him. Bewick formed at this time some
valuable friendships. Chief amongst these was one with a remarkable man
named Gilbert Gray. This man had been, at one time, destined for the Scottish
ministrj-, but at the time Bewick made his acquaintance he was working as a

bookbinder in Newcastle.
Gray was of a very benevo-
lent disposition, and withal
so cheerful and attractive,
that young men loved his
company, and listened gladly
to the kindly words of
warning and wisdom he was
in the habit of imparting to
them. He used to get books
of a moral or entertaining
character printed at his own
cost for young men, amongst
whom it was his great object,
Bewick tells us, to promote
such honourable feelings as would prepare them for becoming good members
of society. With this object in view, this remarkable man, by hard work and
the strictest self-denial, used to accumulate sums of money, ^lo to £2,0 at a
time, and occasionally, instead of expending it on printing, would devote his
savings to the release of deserving debtors from Newgate,* as it hurt him,
Bewick tells us, "seeing the hands of an ingenious man tied up in prison,
where they were of no use to himself or the community."

Reading was always a great delight to Bewick, but the little money he
was able to save out of his wages only afforded him a scanty supply of books.
He used, therefore, to rise very early that he might have the opportunity of
reading through, in his master's parlour. The History of England ^hy Smollett,
newly published at that time. When he had finished it, he persuaded

The Dog and the Bull (in the Editor's collection).

(Formerly lent by J. \V. Ford, Esq., to the Fine Art Society

to illustrate the " Notes" on Thomas Bewick, see p. 98.)

* At that time used as a prison for the town of Newcastle.

LIFE OF THOMAS BEWICK.

Wm. Gray (son of Gilbert, who was also a bookbinder), to rise very early, in
answer to a signal from the street, to admit him to his house, so that he
might have access to the books sent there to be bound, and there he would
remain until his work-hour came !

He tells us he bewildered himself much at this time by theological reading
of too miscellaneous a kind, but happily he at length arrived at this not
unworthy conclusion : —

"As far as I am able to judge, all we can do is to comrrmne with and reverence the Creator,
and to yield with humility and resignation to His will. With the most serious intention of form-
ing a right judgment, all the conclusion I can come to is, that there is only one God and one
religion ; and I know of no better way of what is called serving God than that of being good to
His" creatures, and of fulfilling the moral duties, as that of being good sons, brothers, husbands,
fathers, and members of society."

His intimacy with the Grays led to an acquaintance with William Bulmer
and Thomas Spence. Bulmer, who frequented the Grays' workshop, used,
during his apprenticeship as a printer, to prove the woodcuts Bewick had
executed. He was very curious about the art of wood engraving, and longed
to see it succeed, for Bewick adds, "at that time the printing of woodcuts was
very imperfectly known." Bulmer afterwards became famous as the proprietor
of the Shakespeare printing office in Cleveland Row, London, where he led the
way and showed the example, after Baskerville, of fine printing in England.
Some sumptuous editions were issued from his press, and he not only excelled
in the quality of the paper, and style of the typography he employed, but he
became a liberal patron of Bewick and his school of wood engravers, as we
shall see later on in this volume.

Thomas Spence was of a different mould, he was one of the warmest
philanthropists in the world. The happiness of mankind seemed with hiin to
absorb every other consideration ; but he was violent against people whom he
considered of an opposite character. In illustration of this, Bewick tells us
that at some debating society, got up by Spence to air his theories, he expected
Bewick to endorse his opinion, which he declined to do.

" I could not at all agree with him in thinking it right to upset the present state of society
by taking from people what is their own, and then launching out upon his speculations. I con-
sidered that property ought to be held sacred, and, besides, that the honestly obtaining of it was
the great stimulant to industry which kept all things in order, and society in full health and
vigour. The question having been given against him without my having said a word in its
defence, he became swollen with indignation, which, after the company was gone, he vented upon
me. To reason with him was useless. He began by calling me — from my silence — ' a Sir Walter
Blackett,'* adding, ' If I had been as stout as you are, I would have thrashed you ; but there is
another way in which I can do the business, and have at you.' He then produced a pair of
cudgels, and to work we fell. He did not know that I was a proficient in cudgel playing, and I
soon found that he was very defective. After 1 had blackened the insides of his thighs and arms
he became quite outrageous and acted very unfairly, which obliged me to give him a severe
beating."

* The Member of Tarliament for Newcastle at that time.

Spence wished, amongst other things, to reform the mode of spelling in a
phonetic direction. Bewick cut the steel punches for Spence's type, and Ralph
Beilby struck them on the matrices for " casting " some newly-invented letters
of the alphabet for his SpcUi?ig and Pronouncing Dictionary. Spence pub-
lished in London many curious books in this peculiar way of spelling. Many of
them were on his favourite subject — a subject revived lately and again brought

before the public — of pro-
perty in land being every-
one's right.*

George Gray.f the fruit
painter, John Hymers, a
retired sergeant from the
Life Guards, and Whittaker
Shadforth, a watchmaker and
musician, were also associates
who exercised some influence
over Bewick's life at this
time. He also formed a
strong attachment to his
master's sister. Miss Beilby,
but circumstances were ad-

Thi;

(Lent by the Rev. W. J. Townsend.)
block was lent by J. W. Barnes, Esq., to the Fine Art
Society for their " Notes " on Thomas Bewick.

verse, for before he was "out of his time" she had been struck by paralysis, and
from this and other reasons his feelings were never declared to her family.

At last the day eagerly anticipated by all apprentices arrived for Bewick —
the day of his freedom. On October ist, 1774, he was set at liberty, and, for

the first time in his life, he could dispose
of himself as he chose. For a short time
he remained with his master ; but in the
early spring of 1775 he betook himself to
Cherryburn, and for nearly a year and a
half enjoyed the sweets of liberty among
the scenes and the old neighbours he
loved so well, and amongst whom he
spent, at this time, an especially enjoyable
Christmas.! He maintained himself by

A Northumbrian Dance.
(In the Editor's collection.)

* Mr. Hyndman, the new leader in London of the Social Democrats, as he calls himself, has
lately reprinted one of Spence's books. t Another son of Gilbert's.

% He loved to look back in after years to this Chri?tmastide and the merry-makinff, where
he mingjled amongst the "lairds" and farmers around his father's home, and danced to the tune
of the Northumbrian small pipes, and watched the " feul-pleughs " or sword dancers, as they enjoyed
their home-brewed ale.

LIFE OF THOMAS BEWICK.

doing piecework for Beilby and Angus,* usually going on foot once or twice
a week to Newcastle to take to them what he had executed and seek fresh
orders. His favourite route was by Eltringham ford and the ''Allers"t
or the ferry-boat to Ovingham, and down the north side of the river, through
Wylam and Newburn, to the
town. He had developed into

^^,,,,i,,j(iii«Jj;aii!«jfi;

a powerful man, nearly six feet

high, stout in proportion, and

of great strength. He was

courageous at all times, and

once gave a notable instance of

it by thrashing two miners on

the spot, who had attacked him

near his father's house, and,

in his own words, "paid them A Game at Cards. (Lent by Robt. Smith, Esq., M.D.)

both well." He threw himself into his old pursuit of fishing, and while

following the rod had many opportunities of studying the habits of the wild

birds and animals around him, and storing in his mind the exquisite little

scenes and incidents he afterwards turned to such good account in his vignettes.

Altogether "this was a time of great enjoyment," he says, but even such

dearly loved liberty at last

palls; "even angling became

rather dull when I found I

could take as much of it as

I pleased." While he was

pursuing it one hot day in

June, 1776, laying down his

rod awhile, he came to the

conclusion he would like to

see more of the country. He

went straight home to carry

out this resolution, and asked

his mother to put him up

some shirts, as he had deter-

A Turnpike Gate. (Lent by Robt. Smith, Esq., M.D.)

These last two blocks were cut by Thomas Bewick for

a chapbook printed at Penrith, and they afterwards

appeared in a children's book published by Oliver

& Boyd, Edinburgh.

mined to visit his uncle (her brother) in Cumberland. The same afternoon,
with three guineas sewed by his careful mother in his waistband, he set off and
walked up the Tyne to Haydon Bridge. This Avas the beginning of the most

A Newcastle printer. The Editor possesses a unique volume of impressions taken from
all the wood blocks in his possession in 18 11. Many are by Bewick.

f Alder bushes.

HIS jOCRXEY INTO SCOTLAND.

(In the Editor's collection.)
From Davison of Alnwick. Fergusons Poems Vol. I.,
page lo;. Davison carefully preserved his blocks,

taking stereotypes
publications.

from them to use

his

delightful expedition of his life, an expedition on which in after years he loved
to dwell, for Mr. Dovaston tells us he narrated all the particulars of it to him

when quite an old man, in 1825.
He passed up North Tyne by
Haltwhistle into Cumberland,
and soon reached his uncle's
house at Ainstable, where he
spent a week with his kinsfolk,
and fished the Croglin for trout.
He then visited Armathwaite,
Penrith, and Carlisle. After-
wards he crossed the Border
and wandered far and near in
Scotland, seeing Edinburgh and
the Lowland towns, and even
penetrating into the Highlands.
Here he was charmed not only
with the scenery, but with the
unvarying kindness he met with
from the people, who showered
upon him every kind of hospi-
tality, and would accept no
payment in return,* content and
delighted to sit round him in
the evening listening to the
stranger's account of his travels,

-<nm-^y,^t^y^^_^^^ ^ -i^^Sa^a

\.^j^

(Lent by Robt. Smith, Esq., iM.D.)

Formerly in Scottish Minstrels, page 215. Cut by

Thomas Bewick for Oliver & Boyd.

or the Tyneside airs he whistled for their amusement.

At last he turned his steps homewards. He took ship at Leith (with

characteristic kindness nursing a sick child all

the way, which would have died but for his

care) and, after a stormy passage, he landed at

Shields, and arrived in Newcastle on the 12th

August, 1776. After his long absence he

found he still had a few shillings left, and this

gave occasion for his Newcastle friends to quiz

him not a little for having, as they termed it,

"begged his way through Scotland!" The

appeared in several of his publica- young man's taste for distant scenes, however,
tions.

(In the Editor's collection.")
Cut for Davison of Alnwick, and
impressions from stereotypes of it

He used to slip something into the children's hands, he tells us, when he could manage it.

LIFE OF THOMAS BEWICK.

was still unsatisfied. He only remained in Newcastle long enough to earn
sufficient money to take him to London. After a stormy passage of three
weeks on board a collier he arrived in London on the ist of October, 1776.

Here he found many old friends ready to welcome him, Philip and Chris-
topher Gregson, William Gray, Robert Pollard, and Sergeant Hymers. Under
the auspices of the latter he rambled

Dogs Ouakkelling.

(In the Editor's collection.)

Formerly in the collection of J. W. Ford, Esq.

about and saw London thoroughly,
and then sat down closely to work
until he had executed the woodcuts,
which, through the kindness of
Isaac Taylor (Pollard's master), had
been provided for him. Thos.
Hodgson, printer, formerly a New-
castle man, had also been im-
patiently awaiting his assistance,
and employed him not only to cut
blocks himself, but also to make
designs for German workmen to
cut in. Mr. Curran and Mr. Newberry, of St. Paul's Churchyard, also gave
him work. It is strange, and much to be regretted, that of this work he has
left us no record ; but many beautiful designs must have left his graver
while in town, and here it was, probably, that he acquired some of the fine
old copperplates (Hollar's Tangiers
series, for instance) that he possessed,
and carefully treasured throughout
a long life. Fair prospects seemed
opening before him, abundance of
work, and troops of friends ; but he
did not take to the Londoners as he
had done to the Highlanders. He
disliked and despised them, and
they, in their turn, mocked at his
Doric speech and Northern ways.
" Their impudent remarks," he tells
us, often led him into quarrels " of
a kind I wished to avoid, and had
not been used to engage in," so,

lilllllTiiT
The Two Frogs. (In the Editor's collection.)

Formerly lent by J. W. Ford, Esq., to the Fine Art
Society, to illustrate their "Notes" on Thomas
Bewick. See page 16. This block differs from
that in the Se/ect Fables, page 77, now in the
possession of the Rev. E. Pearson, although the
design is the same.

" Notwithstanding my being so situated amongst my friends, and being so much gratified in
seeing such a variety of excellent performances in every art and science — painting, statuary,
engraving, carving, &c. — yet I did not like London I tired of it,

HE RETURNS FROM LONDON.

.zm^

(In the Editor's collection.) From
Davison of Alnwick.

(Lent by Robert Smith, Esq., M.U.)
The Rev. Thos. Hugo obtained it from Mr. Wm. Dodd,

and determined to return home. The country of my
old friends — the manners of the people of that day — the
scenery of Tyneside — seemed altogether to form a
paradise for me, and I longed to see it again."

Isaac Taylor came to him, and asked how
long it would be before he returned. '" Never,"
was the emphatic reply. Taylor warmly re-
monstrated, pointing out the brilliant prospects
he was abandoning, and when Bewick still
remained firm, he left him " in the pet, and
I never saw him more."
Not so Air. Hodgson, who
also remonstrated, but
added that if Bewick was
determined upon leaving
London, and would con-
tinue to work for him in
Newcastle, he would fur-
nish him with plenty of
occupation, and that, as a
beginning, he would give
him as much as would
keep him employed for two years.
Bewick rejoiced at this, because he
could not bear the thought of
entering into competition in New-
castle with his old master, Ralph
Beilby, for whom he had the
greatest respect. Thus, after about
nine months in London, Bewick
found himself, in the month of
June, 1777, once more at home.
He called on his old master, and
established himself with a work-
bench in his old lodgings. Very
soon, however, proposals were made
to him through a mutual friend.

The Crow and the Pitcher.
(In the Editor's collection.)
Formerly lent by J. W. Ford, Esq., for the illus-
trated "Notes" on Thomas Bewick. Seepage 16.
This block differs from that in the St/eci Fai/ns,
page 119, and also from the two preceding blocks.
It seems to have been a very favourite subject with
Bewick, and to have been constantly reproduced. ^^ j^jn j„ partnership with Ralph

Beilby. After a little hesitation he accepted them, and the firm of "Beilby
and Bewick" came into existence. Mr. Beilby already had a premium pupil,

LIFE OF THOMAS BEWICK.

(Lent by Robert Smith, Esq., M.D.) From the Hug-o col-
lection, formerly in the possession of Mr. William Dudd.

and, to equalize matters between the partners, Bewick was led to take as an
apprentice his brother John — the first and best of a long series of apprentices.*
John constantly accompanied his brother on his weekly visits to his father and
mother at Cherryburn. These visits, always performed on foot, were continued
alike in storm and sun-
shine, on dark winter
nishts or dazzling summer
evenings, until 1785, in
which year his mother,
father, and eldest sister
all died, and his beloved
Cherryburn lost to him for
ever its greatest charm.
It was with the greatest
grief and consternation
that he found, in the Jan-
uary of 1785, that his mother had caught so severe a chill, or " perishment,"
as it is called in the North, through getting wet when going to nurse a sick
neighbour, that " upon my asking her earnestly how she was, she took me
apart, and told me it was nearly all over with her." lie employed his friend
Dr. Bailes to visit his mother, and went himself from Newcastle two or three
times a week to take the doctor's medicines to her ; but all his tender care was
of no avail, and she died ^ __^

on the 20th of February,
1785, aged fifty-eight years.
Her son says she was
possessed of great innate
powers of mind, which had
been cultivated by a good
education, as well as by
her own endeavours. For
these, and for her benevo-
lent, humane disposition,
and good sense, she was
greatly respected, and in-
deed revered, by the whole neighbourhood. His eldest sister had been living
ill London, but she happened to be on a visit to her home at the time of her
mother's illness and death, and her over-exertion and anxiety at this time

* His reflections on this and the resfiilar habit of taking apprentices which it led to are
given further on, where the difficulties he had with some of his pupils are mentioned.

(Lent by Robert Smith, Esq., M.D.) From the Hugo col-
lection, formerly in the possession of Mr. William Dodd.

HIS APPRENTICESHIP.

caused an illness that so alarmed her brother Thomas, that he brought her, for
the convenience of medical aid and better nursing, to his own home at the
Forth, where she also died, on the 24th June, 1785, at the early age of thirty-
years. These gloomy days were not, alas ! over. Old John Bewick pined, and,

as is said in the North,
" never held up his head"
after the death of his wife.
His affectionate son, with
eyes quickened, perhaps,
by previous bereavements,
observed so great a change
in him that he strove to
induce him to see a doctor.
The old man's heart, how-
ever, was broken ; he did
not care to make any

Mllllll

(Lent by Robert Smith, Esq., M.D.) From the Hiicjo col-
lection, formerly in the possession of Mr. William Dodd.

struggle to live ; declined all medical advice, and " wandered about all summer
alone" his son tells us, "with a kind of serious look, and took no pleasure in
anything," till the autumn came, when he died on November 15th, 1785, the
day on which he completed his 70th year. Then, indeed, Thomas Bewick
felt that his home-life at Cherryburn was over ; and although the old place
continued in the family, the old ties were broken, and he no longer cared to

resort to a scene replete with so many melan-
choly associations.

Bewick tells us he took several walking
tours during those happy years preceding his
parents' death. In the Memoirs, page 137, he
mentions that his

(In the Editor's collection.) From
Davison, of Alnwick.

This block was used in Ferguson s
Poems (illustrated by Bewick),
Vol. I., page 90. A reverse of
the same design is given in
Hugo's Woodcuts, page 690,
which he got from Stephenson's
ofBce.

Stainmore to Brough, Appleby, an
leaving him and his family, I wa
Newcastle."

"Old school-fellow and friend, Philip Gregson,* of the
Custom House, London, being on a visit to his relatives and
friends in the North in 1780, I, being fond of rambling, pro-
posed setting him on his return home as far as York, if he
would walk with me to that city, to which he agreed; and,
after spending a day or two with him there, we parted. On
my return I took the road by Boroughbridge to Ripon,
where I stayed a short time till I had viewed the country
round it, and particularly Studley Park and its beautiful
scenery. I then returned to Darlington, and changed my
route to the westward, by Barnard Castle, Bowes, over
d Penrith ; and from thence to my uncle's at Ainstable. On
Iked home that day to Cherryburn, and so on the next to

* Son of his schoolmaster, the Vicar of Ovingham.

LIFE OF THOMAS BEWICK.

(In the Editor's coUaction.)
From Davison, of Alnwick.

The particulars of his expenses on the
road have been carefully recorded —
by pencillings, which here and there
are very faint — in a little book which
lies before me. It is called The Ladies'
Complete Pocket Book, or Memor-
andum Repository for the year 1778
(Newcastle-on-Tyne : Printed by J.
Saint for M. Vesey and J. Whitfield)*
and seems to have been given afterwards
to his little son, for inside is written
in large childish characters, '' Robert
Elliot, Book 17Q7." It now belongs to the Rev. W. J. Townsend, by whose
kind permission I am able to give the following extracts : —
[Written in ink, in a large sprawling hand, not Bewick's.]

"Star, in Stonec-^te.
Mr. Vesey's compliments to Mr. Edward Clough, and the bearer, Mr. Bewick, is an ingenious,
clever man, who is now upon a tour for his observation and improvement as an engraver, settled
in good and the most capital business in Newcastle. Any favour shewn him will be looked upon
as a favour done to

Darlington, July nth, '80.
Mr. and Mrs. Tweedy are very well."

[In Bewick's autograph, pencilled.]
17S0.

July 10. House expenses 15 o

Tu. nth. Andrew Mills's Stob.f

P. G.,J a hungry chap.

Started at 5 in the morning

from Newcastle, refreshed at

Durham and Butcherace.

Stayed all night at the sign

of the Cock, in Darlington.

M. Vesev.

Paid.

nth. Expd. at Durham

Milk at Butcherace§ ...

Exps. at Woodham

Do. at the Bull, Darnten||

Do. at the Cock, do., for supper,

With Vasey at Darnton

1 2th. At G. Smeaton
Dinner at N'allerton
Milk on the road
Expd. a Thirsk

Miles.

s. d

I4J •■

7
I

33 ■••

3
3

I 6
I 10

16 .'.'.

3
I 9

9 •■•

I 3

, I2th. Dined at the George in

Northallerton upon roast

beef.
Hungry Phill.
Set off at 5, and arrived at G.

Smeaton.
Milk at a farm house.
Stayed at the sign of the

Waggon at Thirsk.

* It contains enigmas in verse by various Northumbrians, directions for new country dances
for 1 778, and the names and regulations for the chairmen, and where their (sedan) chairs stand, etc.

t I.e., Andrew Mills is a stob. "A stob " is a North-country expression for a stupid, thick-
headed fellow.

\ Philip Gregson.

§ A farm near Sunderland Bridge, a few miles south of Durham.

II " Darnton," a Northern pronunciation of Darlington.

ins

JOURNEY TO YORK.

Paid.

1780.

Miles. i, s. d.

Th., 13th. Set out from Thirsk at

Expd. at Easingwold

10 ... Ij

half-past four. Refresh'd at

xMilk

Easingwold, Shipton. Milk

Do., Shipton, &c

at a farm house. Arrived

13. York

at York at 3 o'clock.

F., 14. In Colliergate. Slept all

14. Expd. at do. (at Robinson's) &c.

-3

fi 2

night. Saw the Castle Ses-

sions House, Minster, &c.,

&c. An amazing fine view

from the top of the Minster,

274 steps from ye bottom.

Sa., 15 Set out from York at 3.

15. Borrowbridge

17 ... 3

Refreshed at Burrowhridge.

Rippon ...

6 ... 3

The Devil's Arrows, 3 large

—

pillars of stone. An exten-

sive view of a rich, well-

Expd. ... ...

cultivated country from a

moor near B'bridge.

Su., 16. Saturday at Rippon. Sun-

day, do. The Green Dragon,

8 6

Studley Park, Fountain

Abbey, &c. A delightfuU

place.

Mon., 17th. Hell Kettles, 3 or 4

water-holes, said to be bot-

tomless. Bowes, Brough,

Stainmoor. Excessive hung-

ry. Most stormy and dis-

agreable day.

Tu., iS. Set out from Darlington,

Tu., 18. At

half-past ten. . . . Mrs.

Bowes

Taylor's civility and kind

Brough, at Mrs. Thwaites

13 ... I 2

entertainment. Stopt at

—

nt. at Brough, where I was

obliged to stop at on acct.

Lost pon a light guinea

of excessive hunger.

Bad 'Tabbaco at Brough

W., 19. Set out from Brough at

19. Barber Appleby

8 ... 6

seven. Call'd upon Mrs.

Dined at Mr. Gregson

Gregson. Dined with Mrs.

Set out to Penrith

14 ...

Gregson. Called upon

—

at Jerremiah Robinson. Set

out to Penrith at 4 ; arrived

at half-past 7. Staid all

night with Mr. T. Collier.

Kindness.

Th., 20. Penrith Beacon. A fine

20. Kirkoswald, at (Bowness's ?)

view towards ( UUes ?) water.

Gave at Mr. Whalton's to the

Parted with T. Collier on

girl ... ...

4 ■■■ 2

the moor near this beacon,

—

&c. Arrives at Kirkoswald

at (George Bowness's ?) at

II. Ainstable at 7.

LIFE OF THOMAS BEWICK.

Paid,

1780.

Miles.

i s. d.

F., 21. Saunteredabout.andcalled Expenses at Ain=table

upon . . . . ? with Gave to Aunt Margt.*

Aunt Margt. Johnston. At

Mr. Wilson's till 12 o'clock

at night. Prevented from

setting off next morning.

Sa., 22. Went a-fishingto Croglin,

a fine place for fishing trout ;

but poor success, &c.

Su., 23. At Armathwaite Bay and At Armathwaite B. with D.

Bridge. The Old Soldier, Slack

&c.

...

M., 24. Rose at 5. Set off to At Haltwhistle

Branton. Stopt at T. Bell's At Haydon Bridge

ai Glenwhett, Haltwhistle, Darlington, by Barnard Castle

Haydon Bridge, where I met to Bowes

with a sweetheart, by whom From do. to Brough

13 •■■

I was most kindly enter- From do. Appleby

tained. Arrived at Eltring-

—

ham. E. Forster.

From Ainstable to Branton,

from do. to Eltringham

Do. Newcastle

Tu. Set off from Eltringham. C. E.xpd. at Newburn, and do. at

Gregson, Ovingham. Stopt Scotch Wood with Hether-

atNewburn with M.Hether- ington

ington. Arrived at New-

castle at half-past nine with

Hetherington.

Another walk is entered thus : —

EXPENCES. / S. d.

Charity to a Dum Man ... i

Do. to Fond David I

Chester le Street ij

Durham ... 3^

Merrington ... ... ... ... 5

Heighington ... ... ... ... 6

Tuesday.

At a farm house, for breakfast 6

Richmond ... ... ... ... 6

The Angel Inn, Cullyee (?) for supper... 1 2 Wedgwood.

Breakfast at a farm house ... ... 3

Rippon, at the Green Dragon ... ... 3

To seeing Rippon Minster ... ... 6

At a farm house ... 6

Do. all night at the Black Bull, Smeaton 1 6

At a farm house ... 1

Darlington, at the Red Lion 5

At a farm house ... ... I

At the Free Masons' Arms, Durham

* This is written b}' Bewick, and crossed out, as if on secor

d thought.

HIS YOri^XBY TO YOA'A'.

From this simple account we may imagine the happy hours he must have
spent on ■' one of his tramps," noting with observant eye all worth seeing,

the appearance of Wedgwood
while at the "Angel Inn," does
not escape him, stopping here and
there for refreshment at a road-
side farm, visiting his friends,
fishing ; charitable withal, and
yet carefully economical. "Fond*
David" and a "dum man" are
not forgotten. Here we may
note, before passing on to other
subjects, that all children were
fond of him. The anonymous
author of a delightful sketch
of his character which appeared
in the Broadway JMa^-aziiic
for July, 1869, dwells touchingly
on this trait in his character,
and says : — -

(In the Editor's collection.) From Davison, of
Alnwick.

This is one of the most beautiful cuts done b}' Thomas
Bevvict; for Davison, of Alnwick, and appears in
Buffon s Natural Histciy (Alnwick, 1814), and also
in Ferguson's Poems (Vol. I., page 13;). It is in-
finitely superior to a copy of the same design (re-
versed) which appears in Hugos Woodcuts (page
469) which he got from Messrs. Griffiths & Farren,
successors to E. Newbery, St. Paul's Churchj'ard.

" Much of the charm of Bewick was, in reality, occasioned by his earnest loving spirit, which
showed itself in a thousand little traits illustrative of the true nature of the man. Everybody
loved him ; all animals were attracted to him. Children, too, loved him, and he was particularly

fond of playing with the little

'" """'I"|||||||||||||l|:||!||| creatures, who, notwithstanding

his extremely rough face, wil-
lingly came to him ; and among
the numerous and very hetero-
geneous contents of his capacious
pockets he generally had an
apple, a whistle, or a bit of gin-
gerbread, together with pencil
ends, torn proofs, and scraps of
sketches. Frequently as he
walked along the streets he was
followed by a group of ragged
urchins, importuning him for
half-pence, and who were not to
be shaken off till he bestowed
the customary largess. He would
turn to them when busy with a
companion, sajing, ' Get awa',
bairns, get awa' ; I hae none for

(Lent by Robert Smith, Esq., M.D.) From the Hugo
collection. Mr. Hugo obtained this Fable set from Mr.
■William Dodd.

ye the day.' But as they still kept dogging him and pulling at his coat, he turned into a shop,
and throwing down a tester, said in his broad dialect, ' Gie me sax penn'orth o' bawbees,' and
throwing the coppers among the children, said kindly, with a merry flourish of his cudgel, ' There,
chields, fit yourselves wi' ballats, and gang hame singing to your mammies.' "

* " Fond," Northumbrian for half-witted.

LIFE OF THOMAS BEWICK.

Netting on thr Tyne.
(Now in the Editor's coUeition.) From Thos. Adams'
Poetical Woris, pag^e viii. Alnwick : Printed for
W'm. Davison. iSlI.

Shortly before the death of Bewick's father and mother, in the year 1784,
had been pubHshed one of the more memorable and well-known works, which
in after years became insepar-
ably connected with Thomas
Bewick's name, viz., the Select
Fables. It was customary at
that time, for spelling books and
children's school books generally
to conclude with a few fables
with moral reflections, and we
have already seen that Bewick
had frequently been called upon
to illustrate such little spelling
books. As early as 1772, two
years before the expiration of
Bewick's apprenticeship,
Thomas Saint had pub-
lished a little book called
Mornl Instructions of a
Father to his Son, which,
Miss Bewick said, was illus-
trated by her father. At
the end of it were some
" select fables." A second
edition and then a third
appeared (1775), and in
1776 the "fables" were
expanded into a volume by
themselves,* fourteen cuts
in very superior style being
added. So popular were
they, that a still better
known work, the Select
Fables of 1784, was pub-
lished. The title pages of
the two last works, Mr.
Austin Dobson tells us.
were " textually identical.

The Peacock.

This block was formerly lent by J. W. Barnes, Esq., to the
Fine Arts Society to illustrate the "Notes" on Thomas
Bewick (see page 20) and passed into the Editor's posses-
sion from J. "tV. Ford, Esq. This is in an early and rather
conventional style, but is spirited, and thoroughly char-
acteristic. It differs from the same subject in the Select
Fahles^ page 241, and from one in a much later style, to be
found later in this volume. As all these three blocks are
accepted by connoisseurs and critics as undoubtedly the
work of Thomas Bewick himself, they are apt illustrations
of the fact that he was constantly in the habit of repro-
ducing the same idea.

We have seen that Saint had published Gays

* Now very rare.

THE SELECT FABLES.

Illl.'ll /mniillll ll

f ,iifmitnimiiilj|]iji[jp»>_ jj^=-, I

llll'l iri.iTTTTTr.Milllllill

The Cock and the Well.

(In the Editor's collection.) Formerl)' in the
collection of J. W. Ford, Esq.

IllillllllllilliniUlliir .7.... . ..H.iilllllliMililJIIil!

(Lent by Robert Smith, Esq., M.D ) From Mr. Wm. Dodd,

(Lent by Robert Smith, E.'

Fables, illustrated by Bewick, in
1779 (wherein appeared the pre-
mium woodcut), a distinct work,
which must not be confounded
with the rare 1776,* or with the
less rare 1784 Select Fables. In
the earliest of these Select Fables
we may see Bewick struggling
with difficulties, and from want
of technical knowledge producing
verj' crude work indeed. The
author of the Treatise on Wood
Engraving, and more re-
cently, Mr. Austin Dob-
son, have traced for us
very clearly how closely
Bewick must have studied
those who had gone before
him. Sebastian Le Clerc,
a Frenchman ;t Kirkall,
who adopted the designs
of Le Clerc for Croxall's
Fables, 17:22 ; and Francis
Barlow, an Englishman,
who preceded both in 1665,
and whose illustrations
were, to use the words of
a recent reviewer in the
I^all Mall Gazette, "para-
phrased " by Bewick. He
undoubtedly gained many
hints from them in the
difficult art of composition.
To use Mr. Dobson's own
words, in speaking of the

* After Mr. D. C. Thomson had written hif work on Bev.ick he met with .a ropy of the rare 1776
edition Qi Select Fal>ks, with mai'ginal notes in Thomas Bewick's own handwriting'. This interest-
ing^ copy the Editor has had the pleasure of examining. Apparently it ivas Bewick's working
copy while preparing the edition of 17S4.

f ^^ ho engraved un copper illustrations of ^-Escp'i Fables, in 1694.

LIFE OF THOMAS BEWICK.

Select Fables of 1784, " The greatest improvement is in the grouping. This,
and the arrangement of black and white, are much more skilful than before."
But all agree that the
freedom and truthfulness
with which he reproduced
natural objects enabled
him to far surpass all his
predecessors, and improve
immensely on theirdesigns,
especially in the e.xecution
of animals. The appear-
ance of the Select Fables
of 1784 certainly marked
an era in Thomas Bewick's
life, and added to his gen-
eral fame. They were re-
published with the same
wood blocks by Emerson
Charnley (Svo.) in 1S20,
and by Edwin Pearson
(i2mo.) in 1S71, and in a
sumptuous 4to. Edition dc
Luse in 1879.* These
editions prove unmistak-
ably, from the brilliance
of the last impression,
the durability of wood
blocks and their practical
indestructibility when pro-
perly preserved and han-
dled.

^Ve may here mention
that Bewick began about
1779 to cut blocks as
newspaper headings for
the Ne%vcastle Chronicle,
Jomiuil, Counmt, and ^^^^^ ^^, ^^^^^^ g^^j^j^^ ^^^^ j, p.) prom Mr. Wm. Dudd,

* A few copies of this very heaiuiful and limited edition may still be had of the Rev. E.
Pearson, St. Luke's Road, Cheltenham.

Advertiser, and, a few years later, for the Durham Chronicle. A specimen of
one of those done for the Courant remained in the possession of the family,
and we give it here.

Heapixg for the " Mewcastle Courant." (From the Bewick Sale, 216.)

At that time it became the fashion to have tiny woodcuts to attract atten-
tion to the advertisements in newspapers. A couple of fighting cocks would
precede an announcement that a " main of cocks" would " be fought" on such
and such a date, and a ship in full sail was always used before notifications of
the times when ships would sail. Most of these in the North of England
were from Bewick's workshop, and one exhibited a touch of his grim humour.

Cut for a Horse Sale. (From the Bewick Sale, 217.)

It used to figure above " Lost, Stolen, or Strayed," and showed a man on
horseback riding hard towards a gibbet, with a devil sitting behind him. A
view of Newcastle was used above the "Local News" in the Newcastle
Chronicle for many years, and it is said that over a million impressions were

LIFE OF THOMAS BEWICK.

taken from this block alone. Bewick refers to it in his Memoirs as an instance
of the wonderful durability of wood blocks and their superiority in this respect
over copperplates.

Bewick began now to contemplate taking a wife. His respect and regard
for the other sex had ever been very great. He tells us at page qy of the
Memoirs: —

"Sometimes my barometer of estimation has ripen to the height
of ten to one in favour of the fair sex, at other times it has ffuctuatcd.
and has fallen down some de^ees lower in the scale ; but with me it
is now settled, and I cannot go lower than four good women to one
good man. I have often wondered how any man could look healthj-,
beautiful, sensible, and virtuous women in the face without con-
sidering them as the link between men and angels. For my part,
I have often felt myself so overpowered with reverence in tlieir
presence that I have been almost unable to speak, and they must
often have noticed my embarrassment. I could mention the names
of many, but it might offend their delicacy. When a man can Perhaps for heading an
get such a helpmate for life his happiness must be secured, for advertisement for re-

such a one is of inestimable value : ' Her price is far above cruiting. (From the

rubies.'" Bewick Sale, 218.)

With such sentiments it is not wonderful that he exercised the same care
and sound sense in the selection of a wife that characterised him in the other
important relations of life, and that having secured the woman of his choice, he
valued and cherished her with a tender and ever-increasing affection. He was
rewarded by the enduring regard of a most intelligent, sensible, and devoted
wife, and they together brought up a family so united, dutiful, and affectionate
that peace and happiness surrounded every member of it until the day of their
death. He tells us : —

" I had long made up my mind not to marry whilst my father and miither lived, in
that my undivided attention might be bestowed upon them. My mother had, indeed, r
mended a young person in the neighbourhood to me as a wife. She did not know the youn;
intimately, but she knew she was modest in her depoitment, handsome in her person, and
good fortune; and, in compliance with
this recommendation, I got acquainted
with her, but was careful not to proceed
further, and soon discovered that,
though her character was innocence
itself, she was mentally one of the
weakest of her sex. The smirking
lasses of Tyneside had long thrown
out their jibes against me as being a
woman-hater ; but in this they were
greatly mistaken. I had, certainly,
been very guarded in my conduct
towards them, as I held it extremely
wrong and cruel to sport with the
feelings of anyone. In this, which
was one of my resolves, sincerity and
truth were my guides. As I ever con-
sidered a matrimonial connection as a
business of the utmost importance, and

order
ccom-
^ lady

had a

I'm; A Tim: \i ( oMST's Hn.i..
(Frwin the Bewi.k Sale, 2ig.)

HIS MARRIAGE.

which was to last till death made the separation, while looking about for a partner for life, my
anxious attention was directed to the subject. I had long considered it to be the duty of every
man, on changing his life, to get a healthy woman for his wife, for the sake of his children, and
a sensible one as a companion, for his own happiness and comfort — that love is the natural guide
in this business, and much misery is its attendant when that is wanting. This being the fixed
state of my mind, I permitted no mercenary consideration to interfere. Impressed with these
sentiments, I had long, my dear Jane, looked upon your mother as a suitable helpmate for me.
I had seen her in prosperity and in adversity, and in the latter state she appeared to me to the
greatest advantage. In this she soared above her se.x, and my determination was fixed. In due
time we were married, and from that day to this no cloud, as far as concerned ourselves, has
passed over us to obscure a lifetime of uninterrupted happiness." — Memoirs, page 147.

dear Isabella died.

After

a 1

ong and painful il

ness.

the

1st of February, 18
Aged 73.

26,

The best

of Wives and very

best

of Mothers.

His choice having thus fallen upon Isabella Elliot, with whom he must
have been acquainted from boyhood,* their marriage took place in April, 1786,
in the old church of St. John, Newcastle-on-Tyne.t The Central Station itself
stands on the site once occupied by the Forth, formerly an open space within
the town walls, and in one of the pleasant old-fashioned houses that surrounded
it, Bewick had for some time been located. His house had a garden attached
to it, J and in it had formerly lived Dr. Hutton, of the Mensuration. Bewick
had bought some of the furniture from Mrs. Hutton, when she and her husband
had removed to London ; but, doubtless, many new " plenishings " were added
to do honour to the bride. Mr. R. Robinson tells us the " Woollett " engrav-
ings which Bewick possessed§ were bought at this time to adorn the walls of their
parlour. To this pleasant home, close, as we have seen, to the church in which
they were married, Bewick took his wife, and they settled down to a domestic
life which was ever after the scene of uninterrupted happiness.

In 1790, Bewick became a member of " Swarley's Club," which met once a
week in a public-house in Newcastle, and appears to have been a social rather
than a political club, held for conversation and the interchange of ideas on

* Her father, Robert Elliot, had farmed land near Ovingham until his death in 1777.

t The tower of St. John's is almost the first object that meets the eye of a stranger, who,
arriving at the Central Station in Newcastle, takes his way into the "canny toon" — as the in-
habitants love to call it — by the new street of Grainger Street West.

X Bewick loved a seat in his garden, and roses above all other flowers.

§ The Editor has seen them hanging up in the house at Gateshead, and they were after-
wards sold at the sale in Newcastle.

LIFE OF THOMAS BEWICK.

things in general. After the History of
certain members showed so much jealousy
time Bewick had to shun their society.
In politics he was a Liberal, and expressed
strongly the views he held ; but they
were not radical or revolutionary in any
respect. His cast of mind was reflective,
enlightened, and well balanced. A fol-
lower of Cobbett, he was a regular reader
of the Weekly Register. Mr. John
Brown, of Dean Street, remembers that
his father, Wm. Brown, of High Street,
Gateshead, Joseph Lumley, of High Street,
Gateshead, and Bewick used to take it
amongst them, passing it on week by
week. In a letter to the Editor, Mr.
Brown says : —

" I have faint recollection of anything
pertaining to Mr. Bewick ; but he was a home
man more than most of persons generally
believed ; a hard worker in his favourite study
in drawing, or forwarding work for his shopmen s
in those things wanted. In the early morning,
and on his return in the evening, his favourite
garden seat was his great pleasure. If not
working, his time was taken up by reading some
work bearing on the subject of natural history.
He was not one who had much other to trouble
his thoughts about. In politics he was an
ardent and constant reader of W. Cobbett's
works ; in them he seemed to take great delight.
He was not a great talker. He thought more
than he gave expression to ; whatever subject
was under consideration, he was very silent."

He still kept up the habit
of early walks. Later on in the
Memoirs he tells us : —

"After my journeys (long ago) to
Cherryburn were ended, I used, as for-
merly, seldom to miss going in the
mornings to Elswick Lane to drink
whey, or butter milk, and commonly fell
in with a party who went there for
the same purpose ; and this kind of
social intercourse continued for many
years."

Qiiadritpeds became such a success
and unkindness about it that for a

A Mule. (Now in the Editor's collection.)
From Beauties of Natural History sekcted
from Buffons History of Quadrupeds^
with Cuts by Bewick. Wilson Spence,
York ; and T. Catnach, printer, Alnwick
(date about 1790). The designs .are the
same, but the cuts are a little smaller
than those used in the History of Quad-
rupeds.

Racehorse. (In the Editor's collection.)

Bull (In the Editor's collection )

HISTORY OF QUADRUPEDS.

A Stag. (In the Editor's collection.)

(In the Editor's collection.) From Davison, of
Alnwick, for whom it was cut by Thomas
Bewick. An exquisite block.

We have seen how early
Bewick had been employed on chil-
dren's books for Saint, Angus, and
others. In them may be traced not
only the development of his Fables,
but the germ of the Qnadnipcds'A.wA.
Birds that afterwards made him so
famous. He tells us he always had
an extreme pleasure in working at
illustrations for the young and in
administering to their amusement
and instruction, and from the time
he was a schoolboy had often felt
"displeased with the figures in chil-
dren's books, particularly with those
of the Tlircc Hundred AniDia/s*
the figures in which even at that time
I thought I could depicture much
better." So at last he determined to
make a book for children himself.
To this his partner acceding, they
together proceeded to consult JNIr.
Solomon Hodgsonf on the probability
of its success, and receiving from him
very warm encouragement, they began
forthwith the celebrated History of
Quadrupeds. Bewick tells us : —

Hedgehog. (In the Editor's collection.)
15th November, 17S5, the daj' on which

" Such animals as I knew I drew from
memory on the wood ; others which I did not
know were copied from Dr. Stnellies Abridgment
of Bitffon and other naturalists, and also from
the animals which were from time to time
exhibited in itinerant collections. Of these last
I made sketches, first from memory, and then
corrected and finished the drawings upon the
wood from a second examination of the different
animals. I began this business of cutting the
blocks with the figure of the dromedary, on the
my father died. I then proceeded in copying such
not hope to see alive. While I was busied in drawing and

figures as above-named as 1 did

cutting the figures of animals, and also in designing and engraving the vignettes, iMr. Beil'oy,

* In 18 18, he had the proud satisfaction of seeing the Three Hundred Animals re-issued from
his own designs.

■f Bookseller, and Editor of the Newcastle Chronicle,

LIFE OF THOMAS BEWICK.

n the Editor's collection.) From Davison,
of Alnwick. Cut by Thomas Bewick for
Burns Poems (iSoS, Vol. II., page 140).

being of a bookish or reading turn, proposed, in
his evenings at home, to write or compile the
descriptions. With this I had little more to do
than furnishing him, in many conversations and
by written memoranda, with what I knew of
animals, and blotting out, in his manuscript,
what was not truth. In this way we proceeded
till the book was published in 1790. The greater
part of these woodcuts were drawn and engraved
at night after the day's work of the shop was
over."

In a letter written by Thomas

Bewick to his brother John, in London,

dated "January 9th, 1788,"* he says : —

" I am glad to find a large collection of
animals is now on its way to this ti_iwn. They are
expected here on the latter end of this month. They
consist of various kinds of the ape tribe, porcupine,
tiger-cat and tiger, Greenland bear, and one of the
fiercest lions, very lately brought over, that ever
made- its appearance on this island ; so I expect to
have the opportunity of doing such of them as I
want from the life."

And here we have some of the spec-
tators " from the hfe " also.

A few of Bewick's animals and (as we
shall see presently) some of his birds were
drawn from specimens in the Museum at
\Vycliffe,t and he studied (as we have
already seen) live specimens of foreign
animals in travelling menageries when-
ever possible ; but the English animals
that he knew were all drawn with greater
spirit, and their "pose" always displays
a more intimate knowledge of their habits
than could be the case with those he had
never seen alive. Very different, for in-
stance, from the unhappily stiff specimen
of the Wycliffe giraffe, now in Newcastle

* The first cut for the History of Quadrupeds^ the dromedary, was made (as mentioned
on the previous page) on the 15th November, 17S5, being the day of Bewick's father's death.
The prospectus was issued in 1787, and the work appeared in 1790.

t This museum was collected by Marmaduke Tunstall, Esq., at Wycliffe (near Barnard
Castle), at a cost of about ;^5,ooo. At his death it passed to Mr. Constable, and was afterwards
sold for .^'700 to Mr. George Allan, of the Grange. After his death it was secured for about ir400
for the Natural History Society of Northumberland and Durham, and formed the nucleus of their
collection now arranged in the new Museum buildings, in Newcastle, where Bewick's original
pencil drawings may be compared with some of the foreign animals from which he drew them.

(From the Editor's collection.)

The Woodcutter. (In the Editor's col-
lection.) From Davison, of Alnwick. Cut
by Thomas Bewick iox Burns' Poems {\%Qi%,
Vol. 1 1., page 67). Itappeared in Davison's
Buffons Natural History (Vol. II., p. 136).

THE CHILLINGHAM BULL.

(see Bewick Sale Blocks), from which his design was drawn, where the animal

has a wooden look, and as if it had a stiff neck. Dogs,* and donkeys, and foxes

were his chief delight. He sketched

them with unerring fidelity and infinite

variety, and to them his History of

Quadrupeds and other animal books owe

their never-failing charm. Mr. Croal

Thomson says of the greyhound and the

fo.xes : —

".An)- artist might indeed be proud to be
able to produce two such faithful and beautiful
pictures. It is not too much to say that Landseer
in all his glory never produced anything better in
composition than these ; his works may have been
larger, and in colour, but for conception and execu-
tion the foxes are quite equal to ' Not caught yet '
or 'Just caught.' "

-j::?^— -^i>z^ -

A.\ Ass. (In the Editor's collection.)
Formerly in the Hugo collection.

Fine woodcut specimens from the masterpiece designs of Bewick may be
seen amongst the "Bewick Sale Blocks" (Nos. 157 and 159) ; they are almost
the finest of the series, and equal, we are inclined to think, to those in the
History of Quadrupeds.

The Chillingh.\m Bull.

The history of this remarkable block, the largest,! and, in Bewick's own
estimation, the finest, he ever cut, has been so often recounted, and the whole
subject relating to it so exhaustively treated by Mr. D. C. Thomson, that to the
fortunate possessors of his valuable work it must appear superfluous to do any-
thing but refer the reader to his treatise ; those, however, who do not possess a
copy of this (very limited) biography naturally wish to hear all that has been
said about this celebrated engraving, and to them the Editor dedicates this
account, prefacing it by saying that to Mr. Thomson's research she is indebted
for much that follows.

Bewick had made use of the Museum at WyclifTe during his studies for
the History of Quadrupeds, and to oblige the owner, Marmaduke Tunstall,
Esq., he laid aside the completion of that work for a time, to execute this com-
mission for him. Mr. Tunstall wished for an engraving, drawn from the life, of
a Chillingham bull, to illustrate some notes he intended (but was prevented by

* The late Mr. George .Abbs, of Clead^in Hall, used frequently to visit Bewick's workshop,
and told Mr. Hurrell, of Bishopwearmouth, that one day Bewick showed him a block he was busy
with, and remarked, "I lihe cutting the dogs." .Mr. Abbs added, " ily brother, Cooper, got on
with him even better than I did, for he understood more about dogs and horses."

j The old horse, "Waiting for Death," was larger, but it was left unfinished.

LIFE OF THOMAS BEWICK.

death from) publishing about this wondurful native breed.* At first, a copper-
plate was contemplated, containing a bull and cow both in one design. Bewick,
however, fired apparently with the ambition of showing that his favourite
medium (wood) was capable of being used for much larger and more elaborate
designs than he had hitherto attempted, determined to execute the commission
on wood. For the purpose of making the drawings from nature, he started on
foot on the morning of Easter-Sunday, 1789, and walked with a friend about
fifty miles by Alnwick and Hulne Park to pay a visit to John Bailey, of
Chillingham. Mr. Bailey being steward of the manor, no doubt every facility
would be given him that care and caution could suggest to get a good view of
the animals ; but their sense of smell is so keen and their habits so restless that
nothing is more difficult than to get near them without danger. They either
scent their foe from afar and beat a hasty retreat to the hills, or, if infuriated,
bear down upon him with an impetuosity that compels instant escape.

" I could make no dr.iwinf; of the bull while he, along with the rest of the herd, was wheel-
ins; about and then fronting us in the manner described in the History of Ouadnipedi,. I was,
therefore, obliged to endeavour to see one which had been conquered by his rival, and driven ti5
seek shelter alone in the quarry-holes or in the woods, and, in order to get a good look at one of
this description, I was under the necessity of creeping on mj' hands and knees to leeward, and out
of his sight, and I thus got my sketch or memorandum, from which I made my drawing on the
wood."

On his return home he devoted himself heart and soul to elaborating every
part of it with all the skill he was then master of, and enriching it with a
border of most delicate design. When executed, he deemed it — and ever after
looked back upon it regretfully — as his masterpiece. Alas 1 it was doomed to
be a source of bitter disappointment to him, for after ten impressions had been
taken off on vellum to " prove " it, the block split, and they, and they alone,
remained to tell what his masterpiece was like in its primal beauty. Thanks
to Mr. Croal Thomson's kindness, the Editor has been able to enrich the large
paper copies of this book with an impression from the fac-similc he had taken
for his work on Bewick. At page 99 he says : —

" The design of the Chillingham Bull, as shown in ^.\vt fac-simHe (wliich is taken partly from
one on paper in the possession of Mr. M. Mackey, Newcastle, and partly from Mr. E. Gray's
vellum impression), represents the bull standing impatiently pawing the earth, the full side length
of the animal shown, with the head slightly turned towards the spectator, foam dropping from its

* At Chillingham Castle, in Northumberland, the seat of the Earl of Tankerville, there has
existed from time immemorial a herd of the wild cattle that used before the Roman invasion to
wander at will through the primeval forests. They maintain their fierce untamable nature to the
present day, ranging at will amongst the remains of a natural forest unplanted by the hand of
man, which stretches from the castle up the sides of " Hebron Bell," and save that it is carefully
enclosed, its wild thickets and hidden glades have little in common with the trimly kept park
around a South-country nobleman's mansion. The Editor has crept cautiously through the
glades, under the conduct of a keeper, to catch a glimpse of the white coats and black muzzles of
the cattle gleaming through the trees ; and at Lanciseer's great sale, at Christie's, his beautilul
drawings made the London public aware of the noble wild animals that still exist amongst us.

THE CHILLING HAM BULL.

mouth. Overhead and in the background there is a mass of foliage, and in the front various
plants, sufiRciently realised for their classes to be distinguished. At the right, in the distance, two
of the wild animals appear. The engraving proper measures 7j by 5I inches ; but, when first
printed from, it had a beautiful and separately wrought border three-quarters of an inch broad.
Tunstall, on receiving the impressions, said he considered the figure well engraved and with much
expression, though, 'on looking again at the engra\ing, [ think,' he wrote, 'the shading of the
muzzle rather faint, and there seems to be a white line straight down from the mouth ; but this
last may probably have happened in the taking off, though observable in all ;' and then, he asks,
as in an afterthought, while he hits the truth, 'can it be meant to show the foam ?' The chief
beauty of the Chillingham Bull lies in the mar\'ellously varied and minute character of the foliage ;
the trees, which form a rich background, seem to have had more loving labour bestowed on them
than the animal itself, and the intensely' realistic plants on the ground show how carefnlly and
patiently Bewick studied from nature, and how triumphant the master could render his art when
the subject was one in which his whole soul delighted, Bewick was one of the earliest English
artists to go direct to nature and transfer her forms unaltered to his picture, and this at a time
when landscape painting was little practised in England, and when illogical Sir Joshua was dis-
coursing on Generalisation and the Grand Style as the only true means of attaining distinction.
Bewick might in our day have been stj'led a pre-Raphaelite, ' retaining in the delineation of
natural scenery a fidelity to the facts of science so rigid as to make his work at once acceptable
and credible to the most sttrnl}* critical intellect,' and the engraving of the vegetation in the
Chillingham Bull is one of the most striking proofs of this facult)'. It is a cut too precious to be
lost sight of or neglected by those who would stud}' art in all its phases."

Hugo thinks this bull " by right claims among the cuts the first place of
honour," while the Treatise on Wood Engraving, and the British Quarterly
Review, in an article in 1845, each express, on the contrar}', a very moderate
opinion of its merits. The story how the unfortunate splitting of the block
occurred has been discussed and re-discussed, until the difficulty of ascertaining
the exact truth about it recalls to mind Whateley's celebrated Historic Doubts,
a work which went to prove that very possibly Napoleon Bonaparte was a
myth, and never fought a single battle !

One Saturday morning, the block being finished, Bewick took it himself
to Solomon Hodgson's office to have the proofs printed.* The foreman, of the
name of Bell, j being also a land surveyor, happened to have some fine vellum
lying ready for plans. He suggested trying it, and a few exquisite impressions
were the result. His son, in after years, gave — through failure of memory no
doubt — various accounts of both the number printed and the material used.
Bewick himself is silent on the matter ; in all probability he was too much
disappointed to trust himself to write about it.

Jackson, one of his pupils, says, in his History of Wood Engraving, page
570 (published in 1839) : —

* He had been there on Friday, but found the presses occupied by the CJirvnich newspaper
for that week.

t Father of the brothers who afterwards became celebrated in the North for their literary
tastes, the fine libraries they formed, and the collections of treasures they acquired. Two of the
brothers were land surveyors and one a bookseller. An account of their family is given in the
Bell Genealogy, printed for private circulation ; and the magnificent catalogue of Mr. Thos. Bell's
fifteen days' library sale, illustrated with Bewick cuts, i860, is much sought after. The Editor
has the late John Fenwick's folio presentation copies of both of these volumes.

LIFE OF THOMAS BEWICK.

"When only a few impressions of the Chillingham Bull had been taken, and before he had
added his name, the block split. The pressmen, it is said, got tipsy over their work, and left the
block Ij'ing on the window sill exposed to the rays of the sun, which caused it to warp and split.
About si.x impressions were taken on thin vellum before the accident occurred."

It was the account in the Treatise that called forth Mr. John Bell's first

statement on the matter. He writes to Mr. Chatto, the literary editor and

publisher of the Treatise, a letter, dated " High Street, Gateshead, May 20th,

1840," in which he speaks of the

"Six which were taken from Bewick's large cut of the Chillingham Bull on parchment, not
vellum, as is published to the world. By-the-bye, the writer of the account of this cut, in line 13,
page 57°, of the Treatise on WooJ EtigraTing, is incorrect in saying that 'the pressmen got tipsy
over their work,' as at the hour when the impressions were printed most of the men of the office
had left. On Saturday afternoon Bewick called, as he was going to Wycliffe on the Sunday, and
my father mentioning some fine parchment which he had that day received from London to make
stjme plans of estates on, he being also a land surveyor, it was got out, and a skin cut into six
pieces ; and he, Bewick, and Hodgson went to the printing office, where the six impressions, after-
wards said to be on vellum, were printed off, together with the same number on paper. My father
picked out what he conceived the best impression for having found the parchment, and Bewick
and Hodgson each took one; and on Bewick taking the remaining three to his workshop, Beilby,
by taking another, reduced the parchment copies to two for Mr. Tunstall, which, with about half-
a-dozen impressions on paper, Bewick took with him next morning to Wycliffe. When the im-
pressions were taken off, Hodgson, from the size of the cut, wanted to know where it was to be
put until Monda}', when the quantity wanted was to be printed. Bewick, taking the cut, laid it
upon the stone imposing table, and the parties left the office. On Monday morning when the
office was opened the cut was found to have split, the sun for the most part of Sunday having
acted upon it through the window. Had it not been altogether in Bewick's hands in placing it
where it was, there is not the least doubt but he would have made Hodgson answerable for it.* Of
the four parchment impressions mentioned as being kept in Newcastle, Bewick, after the dissolu-
tion ol partnership with Beilby, sold his. Mrs. Hodgson, I believe, gave that which her late
husband got to some friend of his. Mrs. Beilby sold her late husband's, through the medium of a
third person, to the late Earl Spencer for a large sum of money. This will be that noticed at line
18, page 570, but I have been told that the sum was more than what is mentioned there, even as
much as fifty pounds."

To this letter Mr. Chatto replied, stating his conviction that there were

more than " j-Z.v impressions taken on parchment." Mr. Hugo comments

upon it as

" Tolerably certain that six impressions on parchment, and the same number on paper, were
all that were taken, with Bewick's knowledge, on the Saturday before the block was injured, but
that Simpson may have clandestinely taken some other impressions on the Sund.ay, and that to
his unauthorised use of the cut the lamentable injury may possibly be attributable. Allowing,
however, that Simpson had the power, I do not believe that he exercised it in this particular
instance. The parchment impressions referred to by Mr. Chatto are known to bear the name of
the artist, and were accordingly taken after the first attempt at reparation, and not on the Sunday
when the cut was at the office ; and I very much doubt whether more than six impressions on

parchment, with the border, and really without the name, can be found to exist

AVhether Bewick carried a parchment impression to Mr. Tunstall

seems very doubtful. Possibly my second and third impressions are two of the three which he
retained. It is, however, probable that he gave that gentleman all the impressions taken on
paper, and that none found their way to any other quarter. I am not aware of the existence of a
single impression on paper taken from the block before the addition of the name."

[He is all wrong about this, as we shall see presently.] Nevertheless, Mr. J.

* III the Editor's copy of Hugo's Beiaick Colleclor, formerly belonging to Miss Bewick, the latter
has jicncided an emphatic "not he."

THE CHILLIXGHAM BULL.

Bell contradicted his own letter ten years later (1S50), both as to the parchment

and the number, which he now reduced to four, by writing to Mr. Hugo : —

" My father having a ven- fine small skin of vellum, which he had got for a plan, but which
had not been used, he would try how the impressions would look on it, and took it with him to
the printing office, where it was divided into four, and four impressions taken off, which were all
of them as good as possible ; but my father, as he had found the vellum, picked that which he
thought the best, which is that I have. The other three were given to Mr. Hodgson, Mr. Beilby,
and INIr. Bewick to take to Mr. Tunstall. There were also some few impressions taken off on
paper, a strong but coarse sort of wove paper, but I could never learn how they were distributed,
as Bewick took most of them with him the following diy to Mr. Tunstall. \Vhen the printing of
these impressions was finished the cut was cleaned off, and brought from the press-room to Mr.
Bewick, who laid it upon the office window as the safest place ; but on Monday morning, when
the office was opened, the cut was found split in two from the heat of the sun, the window facing
the South-West. Putting the wet cut upon the window was altogether the act of Mr. Bewick, or
there would have been some misunderstanding about it, which there was not. J NO. Bell."

Will it be believed that to crown and contradict all this there was a letter
at this very time e.xtant, from Mr. Tunstall, dated "July 15th, 1789. I duly

received the si.x impressions of the Chillingham Bull on vellum

They were rather rela.xed, and a little crumpled in the coming."* From this
it appears, therefore, that si-x, not two, on vellum went to Mr. Tunstall, and
that they were scut, not taken to him by Bewick ; and, Mr. Thomson says,
" they appear to have been returned to Bewick on Tunstall's death, shortly
after." No mention is made of paper impressions, and as they have never
been heard of since, we may dismiss as mythical Bell's statement as to copies
being taken on "coarse wove paper" before the block split. This affords us a
solution of the whole matter. Neither four nor six, but ten, must have been
the number taken on vellum that afternoon ; one for Bewick, one for Mr.
Bailey, one for Bell, one for Hodgson, and si.x for Mr. Tunstall ; and these si.x
returning into the possession of Bewick accounts for two sold by Miss Bewick
to Hugo, one given to Mrs. Beilby, one given by Bewick to his intimate friend,
R. Pollard. This is the view adopted by Air. Croal Thoinson, and is entirely
borne out by the documentary evidence (written at the time) of Tunstall's
letter. To Mr. Thomson's patient investigation I am principally indebted for
being enabled to compile the following pedigreed list of the present owners of
the ten, their extreme rarity and great beauty justifying the interest taken in
these wonderful impressions : —

I.— The Natural History Museum of
NEWCASTLE-uroN-TvNE. From the
family of Thomas Bewick. His own
copy. Bequeathed to the Society by
Miss Bewick.

2. — Dr. Jolv, of Dublin. Bought at the Hugo
Sale for £j, and is the copy Bell says
his father "chose." Hugo obtained it
from Bell.

3. — Miss Julia Bovd. That one, inscribed
in Bewick's own handwriting, " For
Mr. Bailey." Sold by Mr. Bailey's
grandson (Mr. Bailey Langhorn, of
Wakefield; to Mr. J. W. Ford, of En-
field, who says, "It is a brilliant im-
pression, in faultless condition," from
whom it passed to the Editor.

[See Croal Thomson, page 104.]

* See the Life of Marmadiike Tunstall, by Mr. George Townsend Fox.

LIFE OF THOMAS BEWICK.

7. — Dr. Joly, Dublin. Also purchased by
him at the Hug-o Sale in 1.S77, being
one bought by Hugo of Miss Bewick.

8. — Earl Spencer, who bought it of Mrs.

Beilby, who sold it to him for /"so, it
is said, after the death of her husband
(Bewick's partner).

9. — The South Kensington Museum. Be-
queathed to it by the Rev. George
Townsend, who purchased it from Mr.
Michael Coombes, Regent Street, by
whom it was bought from Mr. Edwin
Pearson for fifty guineas. Mr. Pearson
got it from Mr. \Vm. Dodd, bookseller,
Newcastle.

10. — Formerly in the possession of the late
Mr. Kettle, a music master in New-
castle. It was sold to him by Mr. \Vm.
Dodd, who bought it in London. Mr.
Dodd repurchased it at Mr. Kettle's
death. He thinks this is the copy he
sold to Mr. Jupp (letter from Mr.
Dodd, under date Oct. 23, 1SS5).

4. — Mk. EmviN GR.-iV, of 'V'ork. Jlr. C.
Thomson says, " Probably the one to
which Bell refers when he saj's ' Mrs.
Hodgson gave that which her late hus-
band got to some friend of his.' " Per-
haps Davison, of Alnwick, who is said
to have possessed one.

[We now come to the six that were sent to
Tunstall, and returned to Bewick after his
death. Can it be, he claimed them instead of
payment for the block, as he was never able
to supply the fifty Tunstall ordered ?]

5. — Rev. Mr. Buckley, of Middleton Cheney.
Purchased at the Hugo Sale for .^3 los.,
in 1S77, having been bought by Hugo
in 1852 for £1'^, from Miss Bewick.

6. — Mr. Poll.^rp. Descended from Mr.
Robert Pollard, the engraver, to whom
it was gi\en bv Bewick, who was very
intimate with him.

[See the portrait of Pollard bv Bewick,
No. 2 of the " Bewick Sale Blocks."]

These ten impressions are all that constitute the authentic " first state,"
for Bell's statements about paper impressions being taken on that memorable
Saturday may be safely disregarded. Both Hugo and Thomson, after thorough
sifting, eventually agree in discarding them.

The Editor may here add that it would have been well had they, at the
same time, discarded altogether the word "parchment." These rare copies are
on vellum, which has a very delicate texture, and a fine satin-like surface.
Parchment, with its harsher gram and coarser texture, would have been quite
unsuitable.

Mr. C. Thomson sums up the history of the different '' states " of the block
as follows : —

" The first ten impressions of the block on vellum show no mark of the split ; they have the
ornamental border, with no title, and without Bewick's name at the left low corner ; the reproduc-
tion given is a.Jac-siinile of this state, impressions of which are both scarce and valuable."

" The second state differs from the first by having T. Bewick, Newcastle, 1789, at the corner
left dark in the first state, the T and B being in monogram. The following title is at the foot : —
'The Wild Bull, of the ancient Caledonian breed, now in the Park at ChiUingham Castle, North-
umberland, 1789.' These were pulled after Bewick had taken the cut home, and after he had
been able to close it up, so that some impressions were obtained without showing the crack. The
value of these is not nearly so great as the first state, yet a high price has been [)aid for a perfect
copy. Several impressions of this state also exist with the cracks as they appeared after they
began to show again."

"The third state in which the block remained until 1817 shows the block in a dilapidated
condition, the cracks present themselves over the plate, across the centre, lengthwise, and in other
places ; the small piece which was added to the block, so as to make it fit the border, also shows
more distinctly ; the border itself has disappeared (it has been lost sight of for many years) and
only a simple double line of black surrounds it,"

THE CHILLIXGHAM BULL.

" In 1817, the block was repaired by having an iron band screwed round it, and impressions
were pulled without showing the crack. Underneath, 'Newcastle, printed by Ed. Walker, 1S17,'
was inserted. In this, the fourth state, many impressions were taken, and their value is just what
the collector cares to give, the published price in 1847 being 5s., as shown in the advertisement at
the end of the History of Birds of that year."

"The Chillingham Bull original wood block, without the border, was sold to Mr. Hugo for
£\o, and in 1S77 was again sold for £l(:i among Mr. Hugo's collection. It is now the property
of Mr. Gow, of Cambo, near Newcastle. In 1877, it was then in the clamped condition it had
been put into sixty years before, and the cracks were again apparent. Since then the block has
been reclamped, and the fifth state was first published in Newcastle in 1878. The impressions are
advertised to be 'equal in brilliancy and richness of tone to any hitherto printed, with the excep-
tion of some few special copies.' A few impressions have been taken on vellum, and also a larger
number on paper, some of which are still to be had at a moderate price."

" In Mr. Hugo's collection there was a proof of the Bull ' without the border and title, and
spaced out by Bewick with a blacklead pencil into squares for re-engraving.' This had been
obtained from W. Garrett, of Newcastle, who said, in a letter to Hugo on the subject, ' This im-
pression of the Bull is a curious and valuable one, for when the block was cracked Bewick des-
paired of its ever being repaired, and therefore set to work and squared out an impressiun (the
one under notice) for a new block, should he not succeed in clamping it together.' Bewick did
not engrave another large block, but there is reason to think that he either copied, or deputed
some of his apprentices to copy, the design in a much smaller ^ize. Bell, in his Appendix, says
Bewick engraved such a cut, and mentions the great rarity of the impressions. The spaced out
cop)- is now in the collection of Mr. Crawford J. Pocock, Brighton. An inquiry as to the Bull
having been started in a Newcastle newspaper, ^Ir. Pocock was led to minutely examine this im-
pressicm, and, in conjunction with a co[)y of the block printed underneath, he arrived at the con-
clusion, aft T considering what Garret and Bell have said, that this small block is the one executed
by Bewick, in reverse, from the large pencilled one. He fotuid, on reducing the spaces one-third
(the smaller block being, therefore, one-ninth of the larger), that the little cut comes exactly
similar to the other. From the beauty of workmanship and the very precise nature, of the copy,
it appears verj" probable that Mr. Pocock's conclusion is correct, though there is no further
documentary evidence to support it. In any case, it cannot be denied that this small cut is a very
superior engraving."

Th.iTiks to Mr. Thomson's kindness, the Editor is able to give an impres-
sion from an electrotype taken from the small block here alluded to.

(From an electrotype obt.iincd by the Editor from .Mr. Croal Thomson.)

LIFE OF THOMAS BEWICK.

In 1789, Beilby and Bewick published a large copperplate (size loj ins. by
7 ins.) of the " Large Ox," a famous animal which belonged to Mr. Edward
Hall, of Whitley, in Northumberland. It was both drawn and engraved by J.
Bewick. In 1790, another large copperplate (13 ins. by 8^ ins.) of the " Kyloe
O.x," was also e.xecuted by him for Robert Spearman, Esq., of Rothley Park,
Northumberland.*

In 1789, A Tour through SivcJfii, Lapland, Finland, and Denmark, by
Matthew Consett and Sir H. G. Liddell.t was also published, with copperplates
by Beilby and Bewick.

The success of the History of Quadrupeds led Bewick and his partner to
think of venturing on the work that was to crown Bewick's fame, and in
which, as he tells us himself, his now ripened
powers culminated. He had occupied himself very
much in reading ; and he mentions Brooks and
Miller's Natural History, Dr. Smellie's Abridg-
ment of Buff on, and Pennant's works. Mr. George
Allan lent him Albin's History of Birds, Belon's
very old book, and Willoughby and Ray. Mr.
John Rotherham gave him Gesner's Natural
History. Michael Bryan, Esq.,| of London, lent him the splendid volumes,
Planchc Enluminc'e, of Buffon ; and George Silvertop, Esq., of Minsteracies,
Edwards' Natural Historv. White's History
of Selborne makes up the list. Many friends
and amateurs, as soon as they became aware
he was engaged in preparing a book on birds,
began to overwhelm him with correspondence
he often felt it irksome to reply to, although
in this way he doubtless received some
valuable information. He tells us : —

"At the beginning of this undertaking I made up
my mind to copy nothing from the works of others, but
to stick to nature as closely as I could ; and for this
purpose, being invited by Mr. Constable, the then owner
of Wyclifl'e, I visited the extensive museum there, col-

\'crv earliest style.
(In the Editor's collection.)

Very early Et3'Ie. (In the Editor's
collection.) This block passed
from Catnach's office to the Rev.
Thomas Hugo.

* See Note XIV. on the Cheviot Ram in the " Bewick Sale Copperplates," in this volume.
It is an admirable specimen of his work in this style of engraving.

t Of Ravensworth, near Newcastle, father of the Lady Bloomfield whose Memoirs have been
published lately, and grandlather of the present Earl of Ravensworth.

\ The author of the Dtctiotmry of Painters. His daughter intermarried with a family near
Bishop Auckland (from whom Mrs' Laing, of Sunderland and Etal, is descended), and as Bewick
mentions staying for a couple of days with a school friend at Bishop Auckland, on his way home
from Wycliffe, this may have led to the loan.

lected by the late Marmaduke Tunstall, E?q., to make drawings of the birds. I set off from New-
castle on the l6th July, 1791, and remained at the above beautiful place ntarl3' two moiiths.
drawino^ from the stuffed specimens. I lodged in the house uf John Guundry, the persun wliu
preserved the birds for Mr. Tunstall ; and boarded at his father's, G;.'urg-e Goundry. the old miller
there. Whilst I remained at Wycliffe, I frequentl}' dined with the Rev. Thomas Zouch,* the

rector of the parish As soon as I arrived in Newcastle I immediately

began to engrave from the drawings of the birds I had made at W^-cliffe ; but I had nut been

The Roiux.

(In the Editor's collection.") Mr. Wu^
bought this block from Miss Bewick.

The Chaffinch.

(In the Editor's collection.) Mr. Hugo bought
this block from Miss Bewick.

long thus engaged till I found the very great difference between the preserved specimens and
those from nature; no regard having been paid at that time to fix the former in their proper
altitudes, nor to place the dift'erent series of the feathers so as to fall properly vn each otlier. It
has always given me a great deal of trouble to get at the markings of the dishevelled plumage,
and, when done with cverj' pains, I never felt satisfied with them. I was, on this account, driven
to wait for birds newly shot, or brought to me alive, and in the interval employed my time in
designing and engraving tailpieces or vignettes. My sj-orting friends, however, sui>plicd me with
birds as fast as the)- could."

We can picture his delight in
this engrossing occupation, the happy
but toilsome hours he would spend
in patient preparatory study, and the
careful work he would bestow on
every little detail. He toiled indeed,
both late and early, with all his
wonted perseverance, and at length
the first volume, containing the land
birds, was finished, and ready for the
press in the month of September,
lyqj. ]\Ir. Beilby again prepared
the letterpress, and he has nevtr
perhaps received his full mted of praise for this very creditable performance.

* A relation of the Hcadlam famil)', through whom he held the living if Wycliffe, which is
in their gift.

The Rofin Rei.i:ueast.

(In the Editor's collection.') Mr. Hugo bought
this block from Miss Bewick.

LIFE OF THOMAS BEWICK.

But soon Bewick had to work alone. Notwithstanding the success of the
Quadrupeds, and the still greater success of the first volume of the British
Birds — witnessed by the
rapid demand for fresh edi-
tions — Mr. Beilby preferred
to sell Bewick his share in
both, and withdraw from the
two undertakings, owing to
some disputes which arose
about the History of Quad-
rtipcds with their printer,
Solomon Hodgson. "Mr.
Beilby now sought repose,"
Bewick says, " and could not
be turmoiled with disputes xhe Scait Di;ck.

of any kind," and, there- <^l^™m the Bewick Sale, 220.)

fore, in the second volume — which contained the water birds — Bewick worked
alone ; and " from necessity, not choice," turned author. He drew the figures
of the birds first, and " cut them in " on the block ; and as each one was
finished wrote the description of it as carefully as possible. At last his labour
was completed, and
the second volume,
compiled as well
as engraved by
Bewick alone, ap-
peared in 1.H04.
The first volume
had been printed
at Solomon Hodg-
son's oflfice by
Simpson, the press-
man who " pulled"
the celebrated vel-
lum copies of the
Chillingham Bull ;

but Bewick having quarrelled with Hodgson's widow, the second volume was
jirinted at Walker's office by a certain George Barlow, who, Hugo tells us,

" Was brought down from London to print tiie Water Birds and Bewick's other works in a
superior manner to old John Sim|ison, the pressman to Mr. Solomon Hodg=on. In this, how-
ever, he failed, for Simpson's work is admitted up to the present d.iy to be superior to Barlow's.
— Bewick Collector, Jiage 198.

^ ., 'f-W

\'ery latest style. (Now m the Editor's collection.)
From Catnach's office, whence it passed to the Rev. Thomas Hugi

HISTORY OF BRITISH BIRDS.

Mr. Hugo gives an interesting anecdote, on the authority of Mr. R.

Robinson, of how the drawing for the pintado was taken from the life.

" Bewick drew this bird from a living specimen at Elswick Hall,* near Newcastle. Accom-
panied by his daughter Jane, then a child, he made the sketch while out walking, between five
and six o'clock on a fine summer morning. The gate of the yard being fastened, he had to climb
over the wall to obtain an entrance, and has represented this incident in the background to the
cut. Though very minute, the resemblance to himself of the figure on the wall is quite perfect."

All those who have
ever written about Bewick,
or have been at all capable
of forming a judgment on
the characteristics of his
work, agree in dwelling
with keen appreciation on
the exquisite qualities dis-
played in his delineation of
birds. ]\Ir. Ruskin says,
at page 342, Elements of
Drawing :—

" No. 5. — Bewick. — The execution of the plumage in Bewick's birds is the most masterly
thing ever yet done in wood-cutting ; it is just worked as Paul Veronese would have worked in
wood had he taken to it; his vignettes, though too coarse in execution and vulgar in types of
form to be good copies, show, nevertheless, intellectual power of the highest, and there are pieces
of sentiment in them, either pathetic or satirical, which have never since been equalled in illus-
trations of this simple kind, the bitter intensity of the feeling being just like that which char-
acterises some of the leading pre-Raphaelites. Bewick is the Burns of painting."

Mr. Austin Dobson, in his Beivick and his Pupils, page 102, says : —

" There is no doubt that the Birds are Bewick's
high-water mark. He worked in these under a con-
junction of conditions which was especially favourable
to his realistic genius. In the first place, he was
called upon not to invent or combine, but simply to
copy nature with that 'curious eye' which alters
nothing, striving only to give its full import and
value to the fold of a feather, the tenderest m.irkings
of breast and back, the most fugitive accidents of
attitude and appearance. Then, having made his
drawing in colour or otherwise, he was not obliged to
see it altered or degraded in its transference to the
Wood block at the hands of another person. Between
his original study and the public he was his own
interpreter. In confiding his work to the wood he
was able to select or devise the most effective methods
for rendering the nice varieties of plumage, from

The Pied W..iGT.\iL.

(In the Editor's collection.') Mr. Hugo bought this
block from Miss Bewick.

(Lent by Robt. Smith, Esq., M.D.)

.Mr. Hugo got this from Solomon

Hodgson's office.

* Then the property of the late Thomas Hodgson, Esq., father of John Hodgson Hinde,
Esq. (the antiquar)-, and continuer of his namesake Hodgson's, History of Korthumberland, to
whom he was not related), of the late Richard Hodgson (afterwards Huntley), Esq.. of Carham-
on-Tweed, formerly M.P. for Tynemouth, and of Thomas Hodgson Archer Hinde, Esq., now of
Coombe Fishacre, Devonshire.

LIFE OF THOMAS BEWICK.

the lightest down to the coarsest quill feather, to arransje his background so as to detach
from it in the most telMng way the fine shaped, delicate shaded form of his model, and to
do this with the greatest economy of labour, and the simplest array of lines. Finally, besides
being the faithfuUest of copyists, and the most skilful of vvood engravers, he was able to bring to
the representation of ' these beautiful and interesting aerial wanderers of the British Isles ' (as he
styles them) a quality greater than either of these, that unlessoned insight which comes of loving
them, the knowledge that often elevates an indifferent workman into an artist, and without
which, as may be seen from the efforts of some of Bewick's followers, the most finished technical
skill and the most highly trained trick of observation produce nothing but an imago tnor/if:.
Tliese birds of Bewick, those especially that he had seen and studied in their syh'an haunts, are
alive — they swing on boughs, they alight on wayside stones, they flit rapidly through the air, they
seem almost to utter their continuous or intermittent cries, they are glossy with health and
freedom, the}' are alert, bright-eyed, watchful of the unfamiliar spectator, and ready to dart off if
he so much as stir a finger ; and as Bewick saw them so we see them, with their fitting back-
grounds of leaf and bough, of rock or underwood — back-grounds that are often studies in them-
selves."

His pupil Jackson says : — ■

" Bewick's style of engraving, as displayed in the Birds, is exclusivel)' his own. He adopts
no conventional mode of representing texture or producing an effect, but skilfully avails himself
of the most simple and effective means which his art affords of faithfully and efficiently repre-
senting his subject. He never wastes his time in laborious trifling to display his skill in execu-
tion ; he works with a higher aim — to represent nature ; and consequently he never bestows his
pains except to express a meaning. The manner in which he has represented the feathers in
many of his birds is as admirable as it is perfectly original."

Bewick made himself, as we have seen, the beautiful water-colour drawings
studies for the birds. They formed part of his daughter's bequest to the
Newcastle Museum of Natural History. When they were exhibited in
London, in 1881, their exquisite delicacy was a revelation to his admirers,
and their beauties were ably described b}- Mr. F. G. Stephens, who says : —

"The charming and piquant 'Kitty Wren' ^ ^

— a little gem of spirit and draughtsmanship,
among the finest things of its kind — was hardly
ever surpassed even by Bewick himself. This
drawing is dated 'October, 1794,' and gives a
perfect view of the widely-enjoyed cut at its best
in the form of the original study. As a picture it
is noteworthy for the warm, pearly tints of the
purple and subdued grey on the throat of the
plump little creature, which is all compact of form
and proportion, a kind of feathered mouse, the
'picture ' of energy, enlivening to the utmost a
little body. Further, as to colour, observe the
golden bronze-like lustre on its russet back, where
the plumage is barred with lighter streaks of the
same nature, and banded with what is almost
black. Here the woodcut, fine as it is, is very
inferior to the drawing, and the student of Bewick's art will be grateful to the ladies who have
granted this opportunity for seeing the works together to the enhancement of his ideas of the
powers of their Unher."— Notes on JBewick, by F. G. Stephens.

"The ruling element of Bewick's art, technical and inventive, is sincerity. His extreme
simplicity, or, to be more precise, his straightforwardness, is hut one of the manifestations of his
ever dominant inspiration. He always drew what he saw, and 1 think it probable that he never
drew, or, what is similar, he never painted anvthing he had not seen and thoroughly understood.
The fund of knowledge thus secured and displayed, for it is obvious to me that he made himself
understand everything he thought fit to draw, was employed at all times and with the utmost

The Kitty Wken.
(In the Editor's collection.)

TAILPIECES.

A Pair of Herons in a Northern
Burn. (Now in the Editor's collection.)
The exquisite block from which this im-
pression is taken formed orio^inally the
tailpiece to the fable of " The Horse's
Petition to Jupiter," at page 303 of the
edition of the Select Fables published by
Emerson Charnley in 1S20.

fidelity. He seems to have had so much reverence for his work, and so much humility in the
face of nature, that he became the counterpart of another English master in small, William
Hunt, the water-colour painter, who, although one of the first men in the world in that peculiar
class, was frequently heard to say, ' I almost tremble* when I sit down to paint a flower.' But,
so far as design goe=, and nothing in art is higher, Bewick far surpassed Hunt in the abundance,

as well as in the quality, scope, richness, and depth
of his inventions. Out of this sincerity of mind
was developed that veracity of execution which,
being swayed and directed by rare analytical
powers, enabled him to select from innumerable
details and bye-matters the dominant and essential
features of every subject on which he employed
himself. Simplicity, sincerity, veracity, the power
of selection, and never-failing fidelity to nature,
which was so complete that it would be easy to
persuade one's self Bewick was incapable of seeing
what was insincere and unfaithful — these are the
qualities and powers which, illustrated by a sense
of homely beauty of the corresponding kind, pro-
duced a mode of art which is manifestly so great
in respect to style that, from the little cuts in Gay's
Fables, which were the works of his youth, to the
Birds, of which the best specimens are here, hardly
one is not a treasure of grave yet graceful design.
Thus it happened that this son of a north-country
farmer, bred by a burnside, trained in a dingy
back-shop, living in a primitive fashion, and hale, diligent, and uncorrupted, often produced in
the compass of an inch or two of boxwood, compositions of which neither Raphael, Stothard, nor
Flaxman would have been ashamed, so elegant, naive, and animated are they, embodying all
simplicity and all learning that are proper to them. Thus, the large ' domestic cock ' is such a
masterpiece of style that if it had been carved by a Greek in marble it could hardly have been
finer." — Notes on the Bewick Collection i?i 1880, (pp. 14, I 5 ), by F. G. Stephens.

Of Bewick's tailpieces his admirers feel they can hardly speak too highly.

At page 16 of the "Notes''
on Thomas Bewick, Mr. Stephens,
writing on this block, says : —

"Innumerable instances might be
cited of Bewick's pathetic force in design ;
the vignettes and tailpieces of the British
Birds are wealthy in this respect. It was
well said that there is 'a moral in every tail-
piece, a sermon in every vignette.' Among
these is the famous one {.\o. 126) of the
lean and gaunt ewe nibbling at the stump
of a birch broom in a landscape of starving
snow and bitter cold, while her trembling
lamb vainly sucks at the empty udder of
its mother. The boys in the Birds who are
playing at soldiers, while they are bedizened
in ragged finery and mounted on a row of
tombstones, are among the sardonic satires,
of which few designers produced better
instances than Bewick. The panting stag

The Panting Stag. Select Fables. (Now in the
Editor's collection.) Formerly lent by J. W.
Ford, Esq., to the Fine .Xrt Society. For a
similar design see Crawhall's Fisher s Garland,
1864, page 1S7 ; also, Hastie's Reading Made
Easy (Angus, Newcastle, 1799), page 115,
" The Foolish Stag."

* Mr. Austin Dobson says there is no indiscretion in now adding that Miss Bewick's very
literal, and filially indignant comment upon the above was :— " Thomas Bewick trembled none ! "

LIFE OF THOMAS BEWICK.

waitinc for brecith that it may drink ac^ain at the well-known stream is one of the most touching
of his designs; so likewise is the broken hull of a fishing boat,* whiih we notice below ; the
sea gulls fishing on the margin of the lonely shore; the stormy petrel, ' half floating and half
flying' over the ever-moving and melancholy waste of waves, is another; the frightened culprit
seeing ghosts in every twilight hedge, may be added to a list, which every student may extend
for himself."

Mr. Ruskin has again and again, in his lectures, reverted to Bewick in a
gradually increasing ratio of appreciation. In one passage he says that " with-
out training, he is Holbein's equal ; " in another, " I know no drawing so
subtle as Bewick's since the Fifteenth Century, except Holbein's and Turner's."
He recommends all art students to study him, and says, "the plumage of his
birds is the most masterly thing ever yet done;" and, again, " his vignettes
show intellectual power of the highest order." He tells us that " on his
Northumbrian hill-sides Bewick grew into as stately a life as their strongest
pine," and speaks of a passage from Bewick's autobiography — a work which
he recommends all his pupils to read — as a " piece of consummate and un-
changing truth, concerning the life, honour, and happiness of England." No
one has ever spoken nobler words of Thomas Bewick than Mr. Ruskin, and
every thought that emanates from that com-
bination of a brilliant mind and a loving heart,
which we all gratefully recognise in our Master,
is precious in itself, and pregnant with food for
our reflection ; yet we feel that, for once, we must
enter a protest against one conclusion Mr. Ruskin
has drawn with regard to Bewick's illustrations
of life. He says, in the lecture on Miss Kate
Greenaway's drawings, that it is terrible to note, from the fact that Bewick
invariably drew children in mischief, the depressing and neglected conditions
under which the children of the poor were reared in former days. Now, we nmst
first draw attention to the fact that Bewick's boy scenes are generally drawn
from his own experiences in childhood, and his j'outh was not passed under
depressing social circumstances. Could any children be happier than the boys
building a snow man ? He and the lads riding on the tombstones in Oving-
ham Churchyard were receiving a liberal education from the clergyman of the
parish. The child pulling the pony's tail, while " a neglectful nurse is just
discovering its danger," as some one has expressed it, was his own little

(hi the Editor's collection.) From
Davison, of Alnwick.

* For the hull of a broken boat see note No. 201, " Bewick Sale Blocks," in this volume ;
also, on same subject, consult Nos. 19S and 1 99, where a horse standing in the rain is given, quite
as pathetic as the tailpiece of the " Pensioners," two old horses standing in a downpour, against
which Mr. Ruskin has noted, in his copy of the British Birds at the St. George's Museum, at
Sheffield, as "highest possible quality — an amazing achievement in engraving and for feeling of
melancholy in rain."

GRIM HUMOUR.

brother John, and his very far from neglectful mother, a mother who could
teach Latin, and at the same time was the careful housewife of a well-to-do
yeoman !

And, again, Bewick may have deemed, what many a robust-minded
North-countryman still deems, that mischief and " pranks " are the natural
outcome of healthy animal life in school-boys, and are generally the evidence
of high spirits and fire, not depression or depravity. We well remember a lady
who was proudly watching the rather troublesome gambols of her boys in a
stackyard, where the haj'stack of the year was being built, remarking to a
working-woman beside her, who was also a near and friendlv neighbour,—" I
fear my boys are very mischievous, Mrs. Cockburn.'' " Nay, missus, never
you mind that," was the reply; "the hempyest* lads aye turn out the best
men, you know."

But, to return from this digression. It would be superfluous for the
Editor to dwell on the many wonderful traits of character betrayed by Thomas
Bewick in his works, when so many abler critics — quoted in these pages —
have enlarged on them already. His close observation, which nothing ever
escaped, his love of nature, his stern morality, his kindly sympathy with the
young, his pitiful tenderness for the old, his keen appreciation of humour, all
have been expatiated on at length in these pages. But one point has not yet
been touched upon^a point which the Treatise on Engraving and nearly all
his critics have alluded to, and which, though but a trifling adjunct to a char-
acter so rich, solid, and varied as his, should not be altogether omitted by any
biographer anxious to bring the whole man as he really was, distinctly before
the reader's mind. This trait was a certain deep and abiding sense of grim

/,. humour, occasionally de-

scending into coarseness,
dashed with bitterness when
he depictured it. which
showed that his imagina-
tion could enter into evil
as well as good, darkness as
well as light.

^Vhile in this vein, a
curious fable, with a most
extraordinary illustration to
it, was written by him for his Fables of ^-Esop, which, however, he was
dissuaded from publishing, and it only appeared for the first time at the end of

(From the Bt-wick Sak', 221.)

' Hempy " is \orth-cuuntry for spirited .ind mischie

LIFE OF THOMAS BEWICK.

his Memoirs bv Himself* A horrible, and what many will deem an exces-
sively vulgar illustration of the same mood — but undoubtedly one from his
own graver, and a copy of his own handwriting — is given on the preceding
page, the Editor having been advised to publish it, and venturing to think
that a determination to give as far as possible a faithful picture of the whole
man, and all his ways and thoughts, is a sufficient excuse and a full justifi-
cation for doing so.

Each edition of the British Birds rose steadily in price, and we may here
subjoin some unpublished letters on the value of the different editions : —

[Addressed to] "WiLI.IAM BOVD, E^sq., NEWCASTLE,

Saville Row. 2i J^any., 1817.

Mv Kind Fkienp, — I have received your card requesting me to inform you if 1 had been
able to procure a set of the British Birth on imperial paper, which you do me the honor of
wishing to place in your library. I shou'd have felt great pleasure had it been in my power to
meet your wishes in this respect ; but I am sorry to find this cannot be done, for I have none of
that size on hand, neither do 1 know how to procure a copy. I send you a set of the Birds on
royal paper, which I wish you to examine at your leisure, and if the impressions appear to you
to be any better than those you have, 1 will with pleasure exchange books with you ; or shou'd
you wisii to look thro' the few sets I have now left on 1^" you shall be welcome to pick and
choose from amongst them whichever you maj' like. I do not think that any of the former
editions are better than those lately printed; but the public in general are pleased to think
differently from me, and this I cannot help.

I am. Sir,

Your obliged & obedt.

Thomas Bewick."

Mr. Boyd took this copy of the British Birds (with very fine impressions)
on royal paper, and inserted this letter within the first volume. It is now in
the possession of his son, Edward Fenwick Boyd, together with his royal paper
copy of the History of Qimdriipcds (Edition 1824) in which the following
letter is inserted : —

[Addressed to] "Wm. Bovn, I^sqr.

SiK, — P'rom an extreme desire that you should have such a copy of the History of
Ondrupeds \sic\ as you like, I have sent you a dozen books to pick and chuse [.«'c] from.

I am.
Sir,
g Juney Your obliged & obedt-

1824. Thomas Bewick."

But Mr. Boyd does not seem to have rested satisfied without possessing an
imperial paper set also, and, at last, copies of that unusual size, both of the
British Birds, History of Quadrupeds, and ./Esop's Fables (2) were added to
his library. The letter on the opposite page throws light on the price of these
choice impressions at that time.

* One of the tailpieces, representing a demon driving a man in his cart under a gallows,
was a picture of Bewick's coal merchant, who had been cheating him. The portrait was so life-
like, and the moral so evident, that when Bewick showed it to the guilty man, he was so
frightentd that he fell on his knees, confessed his thefts, and begged for pardon !

BANK NOTES.

" To Wm. Bovd, Esq.,

Bank.
Mr. Boyd.

Dr Sir, — I herewith inclose a Receipt for your Bool:s, accompanied with my warmest
thanks for this and many favors experienced at your hands.

I am,

Dr. Sir,

Your obliged and obedient,
5 Janry., 1822. ^ Thom.^S Bewick."

[On a receipt stamp, twopence.]

'■3

Newcastle, 5 Jamy., 1S22.

Received of William Boyd, Esqre-. the sum of three pounds three shillings for an imperial
set of the History of British Birds with Supplement.

Thom.as Bewick."

[The volume in which this letter is inserted is now in the possession of
the Venerable Wm. Boyd, Archdeacon of Craven, and, from the date, relates to
an earlier impression than the 100 copies on imperial paper, printed, according
to Mr. Geo. Clayton Atkinson, in 1825.]

Mr. Beilby, his partner, had been in the habit, as we have seen, of writing
the letterpress for their books, as his share of the work, besides engraving a
great deal on copper ; and, when the partnership was dissolved, Bewick tells
us, in his iJ/^wo//'i' of himself, that he was much retarded in the figures and
vignettes for the water-birds by being often obliged to lay that work aside
to execute various other orders for wood engraving, and also to carry on
the general work of the shop for his town customers, particularly writing-
engraving, which he tells us he was -obliged to learn after Mr. Beilby left him.
The most interesting part of this latter kind of work he found to be the plates
for bank notes. A five-pound note for the Carlisle Bank* attracted much
notice. It was done at the request of George Losh, Esq.,f who was connected
with that bank, and wished him to make one that could not easily be forged.

" I had at that time never seen a ruling machine, nor the beautiful engine-turning lately
brought into use by Perkins, Fairman, and Heath, which were at that time, I believe, utterly
unknown. I, however, proceeded with my plate, and my object was to make it look like a
woodcut, and in this, tho' a first attempt, I succeeded, and the number of impressions wanted

were sent to Carlisle. Soon after this, I was told by Sir J. F , Bart., that his brother, who

held some office under Government, and was much with the I-^ing — George III., whose curiosity
was insatiable as to everything relative to the arts — had got one of these bank notes. Sir J.
F 's brother showed it to the King, who greatly admired and approved of it."

About two years after this, in the year 1801, enquiries were made from
the Bank of England about his process, whether he used wood or copper, etc.

• The beautiful original plates for this bank note are given in this volume. Plates Nos. II.
and III.

t Of Benton Hall. He came from Cumberland, and was grandfather of William and James
Anderson, Esqrs., of Jesmond and Newcastle. Bewick did book-plates for some of this family
and their relations, the Andersons of St. Petersburg.

LIFE OF THOMAS BEWICK.

He was ach'ised by a friend not to give them any information, and, though he
seems to have done so, the correspondence at tliat time came to nothing. He
continues : — •

" It may perhaps be well, when I am on the subject of bank notes, to pass over a number of
years, and come down to the year 1818, when a commission was appointed to investigate the
business of forgery, and to endeavour to prevent it for the tuture. Some time previous to this, I
was emplo\'ed by my friend, John Baile}', Esq., of Chillingham,* to engrave plates to prevent a
re]ietition of the pen and inlv forgeries which had been committed upon the Berwick Bank, which,
it had been found, had been better imitations than couM be made from copperplates. In this I
succeeded ; and, also, by a simple process, on the plates I engraved for the Northumberland
Bank." (See Plates VIII. and IX.)

The plates for the Berwick Bank are given here, Nos. IV., V., and VH.
One, evidently spoilt (No. VL), is interesting, as showing Bewick's work in
progress, his method of beginning, etc., and his indomitable perseverance. It
is evidence, too, of the sorely tried patience he so pathetically described in his
letter to Mr. Bailey. The second is the face of the bank note as sent to Mr.
Bailey ; and the third is the back of it. It will be observed that Bewick
claims the right of having first suggested the idea of the Government stamp
on the back of notes being made, by their intricacy, a means of detecting
forgery.

The original letters which follow throw much light upon this subject.
They were addressed by Thomas Bewick to his friends, ]\Ir. and Mi<s Bailey,
of Chillingham, and are now published for the first time, by the kind permis-
sion of J. Bailey Langhorne, Esq., — who lent them to the Editor — and John
Bolam, Esq., of Berwick, who lent the one which has been lithographed as a
specimen of Bewick's style of handwriting.

"Newcastle, 25M Scpt.^ 1S13.

Dear Sir, — I am sorry I have not been able to get you a couple of impressions thrown off
in blue & red before this time, for as soon as I told my printer of 3'our large obliging order, he
began to set-too of drinking, & was incapable of printing an impression from any plate, must
\jic\ less yours, which requires some attention in the printing, & without which the white lines
is sure to be blurred. This chap will continue at work & taste no liquid but water for the space
of six weeks or so, & then (like the pitmen) he must have his skin lowsaid. My attempting to
prevent this is useless — he goes on quite crazed for a time & I cannot help myself.

Mr. Langhorn or Mr. Baiie)' sent us a box on thursdaj' morning containing 5,000 notes —
3,000 of which is one pound notes to be printed with red, & the other two thousand £^ notes to
be printed with blue. I have not open'd out the parcels as yet, but no doubt the number are
right. I have no doubt about the notes looking well done with those colours, but I fear much
that they will corrode the plate and make it wear much sooner away than the black ink woud
[sic'\ do. I know that those colours eat plain copperplates into innumerable small porous holes,
& if they take hold of the thin white lines, my fear is that they will break down. If I had
thought of their being printed with red or lilue I cou'd easily have done the white lines strong

* To whom the letters which follow were addressed, and who, besides being a partner in
the bank at Berwick, was land steward to Earl of Tankerville, and lived at Chillingham. It was
when st.iying with him, as we have seen, in 1789, that Bewick made his sketch for the Chilling-
ham Wild Bull, and to him /he first copy on vellimi of the only ten printed before the block split
was given. It is now in the Editor's possession, and beneath it is written "Mr. Bailey," in
Bewick's well-known autograph. (See " Chillingham Bull," page 46.)

BANK NOTES.

enough to bear any kind of printing ink. I have enclosed 4 impressions in blue & red, the 2
printed upon soft, or slightly gum'd paper, 3'ou will see, look middling well, but not so well as
black impressions, & those two printed upon vour notes do not please me at all — the fault I am
not yet clearly able to discover — whether the fault lies in 3'our hard gum'd paper, or in my oil
being badly boiled, or the ink not properly mixt or ground up, I am in doubt about ; but I will
accurately assertain these matters in a short time, & will endeavour to get a printer who will do
my way, & not stick obstinately & stiffly to his own. One of the notes, you will see, is spoiled
in an attempt to do a faint impression, somewhat similar to the one in black which I sent you
before.

I am, dear Sir, your obliged & obedt-
(Turn over for Miss Bailey.)" " THOMAS Be«ICK.

[Mem. — The other sheet for her, and the address to her father, is wanting.]

"Newcastle, 29M Sept., 1S13.
Dear Sir, — I have just rec'd j'our letter, & hasten to save the post with an answer. The
nctes done from the plate cut in two & the paper wetted with a sponge will surely quite save the
stamp entire, & the notes may be done without delay if Mr. Langhorn or the Gentm of the Bank
please to send them back, for the whole were return'd to Berwick yesterday. My botcher had
done 500 with red, the worst printed job I ever saw, either in my shop or in any other ; the faa
is, he cannot, or will not, mixt colour'd ink ; but he can do an3-thing with black, and perhaps
tolerably well. My other printer is from home at present, hut will return whenever I send for
him. I will try what kind of red and blue ink he can make before I set him to work, if the notes
are returned to me. I dare say that you will see that the plate is done to suit the purpose for
which it is intended ; it might indeed have been done better, & I know I can still ver}' greatly
improve upon the plan, so as to appear still to throw greater obstacles in the way of forgery. I
cannot indeed do that, or any other job, quickl}-, as my e)'es tire, and oblige me to leave off.
I am bent upon letting no one see either my tools
cou'd get a peep at my proceeding" "*'" -^ '■■■' — ''"

I am, dear Sir, your obliged & obcdi-
John Bailey, Esq., Chillingham, by Belford." Thomas Bewick.

"Newcastle, bth Dechr.. 1S14.
Dear Miss B.4ILEY, — It is with a considerable degree of painfull feelings that I address
you thus, as it will probably be the last time I shall ever have a right to call you by this name
again. I most ferventlj- wish and hope that health and happiness may uninterruptedly follow the
change.* I had read but halfway down the ist page of your kind letter untill I was obliged to lay
it aside, to attend to some Ladies who gave me a call, and I was otherwise prevented from taking
it up again soon. I was, however, wondering all the time what it cou'd be that Miss Bailey was
complimenting me about — 'well deserved honours,' 'future Fame,' ' Immortality,' &c. 'Says I
to myself,' what can I have done now to draw forth all these strong prefaces to some new compli-
ments, which I was not conscious of having deser'^'ed ? It was, however, not long before I saw
into the intent and meaning of the whole ; and I did not wonder at it, it is all of a piece with the
partiallity and friendship I have long experiensed from your Father, and yours is perhaps equally
ardent, but only of a shorter date. I shall, however, remember your scold; and 1 feel I ought to
do so, for I have got no good by sitting late at work by candlelight doing such a lot of coarse
jobs, for they have been the cause of giving me a succession of colds, 'till I was obliged at last to
keep the house after dinner for sometime past, and this is the first time I have felt myself able to
attend all da}^ till night at the shop. The doing some of these jobs, such as Bottle Moulds, is
very hard work, and heated me very much. There is more labour and exertion used in doing
them than there is in breaking stones for a Turnpike Road, and the work is full as stupid ; but
the}' are jobs from Friends, and, coarse as thej' are, I think nobody except Mr. Beilby and myself

Miss Bailey was engaged to be married to Mr. Langhorne, her father's partner in the Bank.

LIFE OF THOMAS BEWICK.

can do them. I have spent my aTternoons and evens^- in compiling ^sofs Fahles^ and in the
forenoons in drawing finish'd designs on the wood. This to me is a delightful! employment ;
indeed I think I pursue it with an ardour and enthusiasm that borders upon being crazey. I am
supposing that the rising generation, to whom I intend to dedicate the Book, may gather some-
thing from it that may lay a foundation of virtue and patriotism that will stick by them thro' life.
At h-a^t my very hearty attempt to lay such a foundation shall not be awanting, and I hope only
partially to succeed, to think that one in ten or 20 might profit by my labours ; then they will not
have been bestow'd in vain. How ardently do I wish that truth and integrity may be the constant
guides to men ; and as to the other more amiable sex, may health eternally blush their cheeks,
and virtue their minds. I will not neglect the supplement to the Birds; and if my present health
and vigour continue any length of time, I shall, I hope, with energy go a Jishing also. But, be
these things as they may, I shall always remember the commands you have laid upon me. I am
pleased to hear you have had Mr. Nicholson with you, and also more pleased to find that he has
to visit Chillingham again to exercise his talent upon a likeness of your Father. This is a
business that must be done. I am always pleased with the thouts S^sic~\ of meeting Mr. Nicholson
anywhere. I was, however, always pleased at Chillingham, even without any society at all thro'
the Day, and an ample amends used to be made for the want of it at Night. I cou'd sit or wander
about the Dean alone from 6 in the morning till 6 at night and never think the time long. Along
the park wall had also its charms ; but tell your Brother that the seat upon which he cut NB
(1813) was down the last time I was there, and that I was obliged to sit upon a cold stone. But
cold as it was, it did not hinder me from thinking that some person might sit there, with the mind
emploj-ed in the same wa}' as mine, 10,000 years hence. I am glad to hear of your Father's gL>od
health, Mr. Nicholson's, and your own, and if no kind of acid had been discovered to mix up with
this news I shou'd have liked the draught the better. Mr. and Mrs. Beilb)- are, I believe, both
well. He sometimes calls in, but I think — at least I cannot divest my mind of a suspicion — that
he comes by a kind of stealth to see me. He does not know that my respect for him is unabated,
and that I wou'd not have deserted him even had he gone blind You do not need to care a pin
either what the good Lady may say or think of you ; I think such like good ladies are far beneath
your notice. The cold upon me, and the cold weather, has kept me out of the Garret, where alone
I can do the Bank Note ; but I have now got a stove put up in it, and hope soon to have the plate
done. Be so good as to give my best respects to your Father and Brother ( I hope he has got the
lamp before this time), compt:^- to Mr. Jobson, and to Dr. and Mrs. Thomas, wishg- you all the
compts. of the season. All at my fireside are well ; and my lasses have promised me that they
will get soon up on Christmas Day in the morning, and sing their Mother and me a Christmas
Carol ; and 'God rest you, merry Gentlemen, let nothing you dismay,' &c., is now in rehearsel,
and I expect we shall hear it in the good old way before we get out of bed. Miss Cully* is here,
and I am told she intends giving me a call, but I have not yet seen her.

De'c. 7-^-1 wou'd not seal up this letter last night, in expectation of getting the Basket with
3-our kind present from the Wooler Carrier. I sent several times for it last night as well as this
forenoon, but my Boy could never see him. He however sent the Basket to our shop before our
dinner time to-day. It contained two fine fowls, for which we can only thank you ; the basket
also contained poor little David's mighty bunch of Quills. I meant to sell these kind of quills
for him ; but I find they buy them cheap and sell them very dear. If I remember right they cyive
6d. a hundred, and sell them dressed 3 for a penny. Be so good as to give, in return, my 'kind
love ' to David, and also to Wm. and )'our girls, fur they were all very obliging and civil to me.
But I fear I shall tire you; you must pardon me, for I think it a kind of last letter or farewell

I am, dear Miss Bailey, your obliged & obednt-

TiioMAS Bewick.

P.S. — I call'd in upon Mrs. Alcock the other day to enquire after the Misses Greenwells, the
eldest of whom, I understand, lodged with her ; but she is gone, and is now staying with her
Cousin, Mrs. Newton. Mrs. Alcock informs me that she is pretty well in health, but has a bad
scorbustic leg, which prevents her looking after a situation. The younger sister is with a milliner
at Nottingham. Mrs. A. says they have only a small income left to live upon. Poor Girls, I
believe they were robbed.

Miss Baile}^, Chillingham, by Belford."

* Eleanor, daughter of Matthew Cully, E?q., of Akeld. Northumberland, afterwards the wife
tf Henry Morton, Esq., of Biddick, Co. Durham, and an intimate friend of Miss Bailey's.

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LETTERS.

"Newcastle, 5//; Fely., 1818.
Dear Sir, — I have had a /^;V^«//v busy time with the notes for the Northumberland Bank ;
for, not knowing that my first two plates wou'd so soon wear out, I felt taken by surprise that
5,000 finished one of them and 7,000 the other, and w^as much grieved to find that their demand
for a fresh supply was urgent in the extreme. We have, however, by working unremittingly late
and early, Sunday and Warday [i/r], very nearly finished two plates, and with which we expect to
be at work on Monday morning — if our printer is well enough to stand to the work ; if otherwise,
I shall feel a continuation of the extreme anxiety with which the New Year has set in afore me.
I find we must instantly set to work with other 2 new plates, and these, from the manner in which
we shall engrave and etch them, shall print almost till doomsday. As soon as these are done — and
I think that will be nearly about a month (more or less) — then I shall use the same kind of
e.xertions (if that time will suit you) to get your 20s. one clone. But there has been something
ominous or unlucky hitherto in every thing I have had to do with " Berwick Bank." I think I
have lost about ^ a year's work to no good purpose. However, I still hope for better in time to
come. I think, as you intend to change your device, I would recommend the 20s. note to be
done something like this — [here followed a sketch] — with the white cross hatching done
slantingly like a net hanging over a view of Berwick. But I wou'd like well if you cou'd send a
finished drawing, done so as to please the Gentlemen of the Bank, as I shall in that case have
nothing to do but fall to work with it, and endeavour to give 3'ou and them satisfaction. The
net-work I wou'd do with both white and black cross hatching, so as to cut out a pretty job for
the imitation of (an}') either pen and ink, wood-cutting, or engraving villain to imitate it. I
have long had it in contemplation to do bankers' plates in su;h a manner as to wear until they
were tired at looking at the sameness — thousands and tins 0/ thousands of impressions, and not
in the slight way you recommend. This, I hope, I shall accomplish when the notu neglected !
Fables are out of hand ; and I am fretted at the wearysorae and unforseen delays which have
attended the publication of them. I hope to derive some assistance in the cutting the Fables
from a young man who left me last September. As he expressed a wish to continue to work at
them for me, I gave him a number of designs with him to London, which I had, on his acct.,
drawn on the wood with a finish and accuracy of fine miniature paintings, and flattered myself
that I cou'd put a finishing hand to them when he returned them ; but he has sent me none of
them back, and I fear he only intends to make a blaze about the Fables being of his doing, at fnv
expense, in London. These are my conjectures, for I have often been served so before ; and
I now find the more kindness that one shows to some kind of dispositions, the more injury they
wish to do to their benefactors, who instead of serving him with gratitude, they wou'd, after
every kindness shewn them, strangle you if they cou'd. I think there is only a minority of
mankind good ; but we must take the world as it is, and not as we wou'd have it. I have neither
had a Merry Xmas nor a happy New Year. The /irst A'ew }'ear's Gift was an acct. of 87 sets of
the Birds, uninsured, having gone to the bottom of the sea, and I have strong fears that this loss
is nothing to what is still hanging over my head. Yet in the midst of all these matters, with
which I fear I have annoyed }'ou, I have the pleasure to inform you that I cannot be in better
health. With best respects, etc., to Mrs. Langhorn, Mr. N. and Air. William, and the rest of my
ChiUingham friends,

I am, Dr. Sir, your oblig'd & obedt.

Thomas Bewick.
John Bailey, Esq., ChiUingham, by Belford."

Mr. Bailey. "Newcastle, iZth May, 1819.

My much esteemed old Friend, — It is now so long since I have heard anything
like an authentic account of the state of your health, that my patience and anxiety will not permit
me to be held in suspense any longer. Will you, therefore, either from your own pen or those of
Mr. William or Mr. Nicholas, be so good as to drop me a line to satisfy me on this score ? I
will rejoice to have a good account. My house at this time is like an hospital. The servt. girl
sometime ago took ill, of what some people call'd an influenza, and my young folks nursed her
untill she recovered. 'The youngest girl then took ill of a similar complaint ; then Bell was thrown
down in a fever ; something of the same kind attacked myself, and I was, for two or three days,
quite knocked up ; and now Jane is worse than any of us, and confined to her bed. 'Bell has got
something of a relapse, and is also in bed, and the Poor Mother is worn off her feet with anxiety
and attendance. This is but a gloomy kind of business to trouble you with ; I shall therefore

LIFE OF THOMAS BEWICK.

drop it, and hope things will change for the better. In your last letter to me, I think you
expressed a wish to know what was doing about preventing Forgery on the Bank;* I shall
therefore tell you all I know, and as I am certain it will please you to hear of anything
favourable to myself, it is with pleasure that I can communicate such intelligence to you. About
the 3rd of last month I received a letter from Dr. Wollaston, which begins by saying, 'without '
doing violence to my feelings, I cannot longer vvithold from you 'the gratifying information that
your plan, &c., is among the number of Plans approved by the Committee,' &c. He goes on to
sav that the one 'now in arrangment ' he thinks will be a 'disappointment,' because its chief
excellence is in its superiority of engraving, and ' an immensity of delicate workmanship ; ' and
remarks, that tho' ' this is pleasing, it is delusive,' because when an immense ' number of impres-
sions are wanted, excellence of this description cannot' be supported. 'I am confident _v»!"'//««
will It resorted to, as it combines in a superiour degree the great requisites, difficulty of imitation,
with uniformity.' He then goes on to inform me that the object of this (his) hint that I might
prepare myself for a journey to London, on the ' probability of its being necessary ' for me to
attend the Committee to develope more clearly ' the -whole plan of producing notes for circulation.'
His letter is so kind and so flattering that I fear you would think me very vain were I to copy
more from it. He informed me in his letter that the plate, which he believes will be delusive,
would be two months before it would be done, and I believe they are now going on with mine ;
but of this I am not certain, as I have not had any intimation of the business further from either
Sir Joseph Banks or Dr. Wollaston, I never hear a word from Berwick on any subject, and am
quite at a loss to know how my once kind nurse (when Miss Bailey) is in health. I shall ever be
glad to hear of her being in health and spirits.

1 am, Dr. friend, your obliged & obedt.

Thomas Bewick."

We must now pass on to a much more artistic department of Bewick's
work, one on which he delighted to bestow infinite pains, and to enrich with

Cut by Thomas Bewick for John Catnach, the partner of Davison, of Alnwick. (Lent by Robert
Smith, Esq., M.D., who has inserted his arms.) Formerly in the Hugo collection. Hugo
and E. Pearson (who gives an impression from an electro) seem to have been unaware that it
was cut for Catnach, and merely call it a tradesman's card.

* The Bank of England is evidently meant ; a Royal Commission had been appointed.

BOOK BLOCKS.

his most delicate delineation of foliage. I mean the blocks for book-plat ci
with which he used occasionally to oblige his particular friends. On this
subject Mr. Pearson sa^'s : —

"The book vigfnettcs and armorial hearings are worthy of close observation. Many of these
were done for Bewick's private and cherished friends. To him sucli souvenirs were not the
subjects of mere professional toil ; they were labours of love ; he lavished his lu_^hest gifts on
them. His exuberant fancy revelled in ingenious delineations, and his intimate acquaintance
with natural scenery imbued his designs with a sort of artistic fascination,"*

(Lent by Robert Smith, Esq.,M.D.) Cut by Thomas Bewick for Mrs. M. Angus, printer, New-
castle. From the Hugo collection.

Book Block.

Cut for John Bell, of Newcastle, by Thomas Bewick. (Lent by Robert Smith, Esq., M.D.) This
blocl^was used on several of the rare typographical tracts published in Newcastle. Dr. Smith
had Mr. Bell's name erased, and his own arms inserted on a movable block. From the Hugo
collection.

' See also "Notes on Bewick Sale Copperplates," Plate XMH., in this volume.

LIFE OF THOMAS BEWICK.

On account of the labour bestowed upon them Bewick was in the habit of
charging more for these book blocks than his ordinary prices. Mr. Hugo, in
his Bewick C'lllertor, page ^2,},. catalogues amongst his autographs a " Letter
in the handwriting of Aliss Bewick, but signed by Thomas Bewick, to R. E.

^i-i^ ■■■■ «'^-,. . , aS-

(In the Editor's collection.) From Davison, of Alnwick.
We have never seen impressions from this rare and
beautiful specimen of Thomas Bewick's book-plate
work before we obtained the block.

(In the Editor's collection.) From
Davison, of .Alnwick. We have been
unable to find impressions from this
fine block. It is evidently Thomas
Bewick's work.

.AR.VIS of the .ADREY of K.NARESROROrCH.

(Now in the Editor's collection.") Cut by Thomas
Bewick for Har-^^raves' History of the Castle^ Town^
ajid Forest of Knaresborough^ pulilished in 1 782.

(Lent by Robert Smith, Esq.,
M.D.) From the Jupp col-
lection. Mr. jupp had
marked it, " By T. Bewick.
Unfinished. For iMitchell,
Newcastle. Bell arms."

Croker, Esq., dated Newcastle Tyne, June 2b, 1822. Acknowledges the
receipt of ^^"5 for engraving his arms, and his gratification that the work has
met with his approbation."

BOOK BLOCKS.

tf)

Mr. Croal Thomson says of this work : — " It has a pretty cut of a coat of
arms (a rampant Hon) leaning against a tree. The border of the shield is
simple, but being nearly all black, it contrasts vividly and charminglj' with
the white ground on which the lion rears itself." This block was in the Rev.
T. Hugo's collection before the Editor was fortunate enough to obtain it, and
he says of it, this "is one of the loveliest cuts ever executed by Thomas Bewick
for a local publisher," and in his Supplement, page 233, he gives an impression
of it again, with the remark, " The arms of Knaresborough Priory, the Corn-
wall arms, perhaps the finest cut that Bewick ever executed for a provincial
publisher."

In Hutchin.son's Hisiorv of Durham. Vol. II., page 508, is a copperplate
signed by Beilby, 1785, of Hylton Castle. Thomas Bewick cut a wood block
on a smaller scale from the same design, which was used to illustrate a small
local (Sunderland) book of earlv date, where it is described as by Thomas
Bewick ; also, in the Northern Jolni Bull, Vol. I., published by Fordyce,

IIVI.TUN CaSILV.

Dean Street, Xewcastle-upon-Tyne, in 1S30. This block became the property
of Mr. Hugo, and at his sale was bought by Mr. \Vm. Hurrell, of Bishopwear-
mouth, from whom it passed into the hands of Mr. Charles Lilburn, of Sunder-
land. He allowed it to appear in the Legend of Hylton Castle, published in
Sunderland not long ago. The first edition was from a stereo, the second
from the wood block. Mr. Lilburn has kindly lent it to the Editor for this
volume.

LIFE OF THOMAS BEWICK.

As we have seen, Bewick did a great deal of work, and some of it was very
beautiful, for William Davison,* the enterprising publisher of Alnwick, for
whom Luke Clennell and Rei veley also engraved, and perhaps some others of the
Bewick school. Davison was a man of fine taste, and high standing in his line
of business, and the books that were issued from his press command good prices,
and are much sought after now on account of their illustrations. Amongst the
number we may mention The Hermit of Warkworth, Biirns^ Focms, B/air's
Poems, Ferguson^ s Poems, and Adams' Poems, Buffon's Svstem of Natuvol
History (four volumes). The Newcastle Rider, or Ducks and Green Peas,
Service's Metrical Legends of Northnmherland, and a Natural History of
British Quadrupeds, Foreign Quadrupeds, British Birds, Water Birds.
Foreign Birds, Fishes and Reptiles, Serpents and Insects ; the last all pub-
lished separately, in little volumes, in iSog.t

The Winch Bkhiue o\ cr the Tees, near
Middleton, County of Durham.

Cut by Thomas Bewick. (In the Editor's collec-
tion.) This cut first appeared in Cooke's
Topography of tlie County of Durliam, also in
B;iiley's View of t lie Agriculture of tlie Countv of
Diir/inm, 1810, and was afterwards in the Hugo
collection.

(Now in the I'Mitor's collection.) Front
Davi.son, of Alnwick. It appeared in a
work published by him, Metrical Legends
of Norttiumt/erlaiid, by James Service,
pagfe 94. Several in that volume are by
John Bewick, but this is probably by a
pupil.

* John Catnach fir=t fnunded this celebrated printing and publishing firm, and took Davison,
who was also a chemist, into partnership. Catnach had good ideas, but was so unsteady in his
liahits that he eventually had to sell his share to Davison, and afterwards started a business in
Newcastle. Here his misguided conduct soon got him into trouble and debt, and he fled to
London, eventually dying there, in great misery. His son, James Catnach, founded a very suc-
cessful but peculiar business in the Seven Dials, printing penny illustrated accounts of the
murder cases and scandals that took place in London during a long series of 3'cars. For further
particulars see Mr. Chas. Hindley's Life and 'Junes of fames Catnach.

f Davison was in the habit of carefully preserving his blucks from danger by using casts
from them only, in his printing office. He is said to have stated that he had |)aid Thomas Bewick
upwards of ;^5oo for wood blocks, and by way of realizing some of this outlay he published a
quarto catalogue — now exceedingly rare — of impressions from "new specimens of cast metal
<^rnaments," etc., which he was ready to supply at the prices affixed. Several small works in
Scotland were in this way illustrated by Bewick "casts" that might not otherwise have attained
such honour. We are inclined to think these "casts" were all stereotypes — as some of them
the Editor has seen undoubtedly were — although electrotyping was invented at the very

FABLES.

Some exquisite wood blocks in Bewick's very best style were also cut by
him for the Sportsman's Rcpositorv, but as this does not profess to be a com-
plete catalogue of his works,* we
must pass on to the next important
volume issued by himself, viz., the
Fables of yEsop. In 1812, this
hitherto strong and powerful man,
who had never known any kind of
sickness, was laid aside by a very
severe illness from which he was
hardly expected to recover. f He
gives us a vivid account in the
Memoirs of his weakness, and as
he lay helpless on his bed he re-
volved in his mind the project
of preparing a new set of blocks
for illustrating a new edition of ^Fsop, and as soon as he recovered he lost
no time in beginning the designs.

The Fo.x .ani> the Gk.ai'es.

Early stj'le. (Now in the Editor's collection.) This
block was lent by J. W. Ford, Esq., to the Fine
Arts Society, in 18S1, to illustrate their "Notes"
on Thomas Bewick (see p. 16).

liiiifnn,.,,; ml!

The Dog in the Manger.

Earlier style. Signed by T. Bewick. (Lent by Robert
Smith, Esq., M.D.)

The Windmill Hills at
Gateshead were then famous
for pure and bracing air, and
were a favourite resort| for
invalids from Newcastle. Here
Bewick sought a change to
recruit his health, and the
satisfactory result of this ex-
periment doubtless led to his
determination to quit the old
home in the Forth, where he
had hitherto lived since his
marriage, and remove his
family to a house of his own
at Gateshead, in a field which

beginning of this century. Unlike Catnach, Davison lived respectably and prospered until he
died (at the age of 77) in 1858, when all his valuable stock-in-trade, including 500 blocks
by Bewick, were disposed of by auction, and the sale catalogue, from which some of this informa-
tion is taken, is now very rare.

* Those who wish to refer to a consecutive catalogue of Bewick's works may find one at the
end of the " Notes " on the F'ine Arts Exhibition of Bewick's works issued in 1881. It is very
complete and valuable.

\ See a notice of this at a subsequent page on the subject of Miss Bewick.

\ Now built over in every direction, and the air poisoned by the manufacture of chemicals.

LIFE OF THOMAS BEWICK.

afterwards became a street, named West Street (No. 19), on the Durham Road.
Here he dwelt for the remainder of his days, and his children after him,
although he regularly walked every day over the Low Bridge, by the Sandhill,
Side, and Dean Street, to attend as
usual to his business in St. Nicholas'
Churchyard.

He now began sedulously to
work at the,<^.s-o/ which he projected
during his illness — but, notwith-
standing the help of his son, Robert
Elliot Bewick, whom he had taken
into partnership on the 1st of
January, 1812, and his two favourite
pupils, Harvey and Temple, whose
efforts to help him in forwarding
the volume of Fables which he was
ushering into the world he freely

F..\BLE Cut.

Intermediate style. (Lent by Roht. Smith, Esq.,
M.D.) From Soulsby's Office, Penrith.
(Hugo's Collection, 435.)

acknowledges — ill-health, copperplate work for the banks, and other orders,
retarded the work, and the new volume of ^sop^s Fables was not published
until I Si 8.

All the designs and much of
the letterpress for it were new, and
the style of wood engraving adopted
was much more elaborate and highly
finished than in any of Bewick's
works that had gone before; in fact,
it may be described as in an alto-
gether "later manner,'' but that
manner is not so distinctively his
own, and what it had gained in
finish and refinement, it had lost in
strength, simplicity, and vigour.

We are fortunate in being able
to contrast Bewick's different styles,
and to illustrate his gradual develop-
ment into a more pictorial and less
conventional mode of treating his subjects, by the Fable cuts that are placed
side by side on these pages, for the comparison of those that care to study them ;
and if the student will turn over to a subsequent page, and examine the Fable

FAiii.n Cut.

Later style. fLent hy Robt. Smith, Esq., \f.D.)
From Soulsby's Office, Penrith. (Htisjo's
Collection, 433.) This and the precedin,^ one
are very fine specimens of Thomas liewick's
work.

FABLES.

Fable Cut.

Later style. Cut by Thomas Bewick. (Lent by
Robert Smith, Esq., M.D.)

cuts given beside the account of Harve}', he will then be in a position to com-
pare the whole with his own edition oi ^Esop's Fables, and single out those
cuts that may be reasonably attributed to Harvey's graver in that volume.

The rugged, but kindly, ex-
pressive, and very intelligent coun-
tenance of Bewick, has been made
familiar to us by many portraits,
besides the very fine bust by Bailey,
which was placed by public sub-
scription in the Literary and Phil-
osophical Institution of Newcastle-
upon-Tyne. This bust is a noble
and impressive likeness, notwith-
standing the plainly indicated quid
of tobacco, which Bewick insisted
on retaining, according to his cus-
tom, between his teeth and under lip.
In 1708, a copperplate appeared by
T. A. Kidd, after a painting by Miss Kirkley. A miniature, by Murphy,
was engraved by T. Summerfield, and published in 1816, but it was not a
very satisfactory performance. Nicholson, Bewick's pupil, drew a portrait of him,
from which a much finer (line) engraving was executed by T. Ranson, a pupil

of Kidd's. The fourth portrait,
on copper, by J. Burnett — after a
painting by James Ramsay — was
published in 1817 ; it v,-as considered
a pleasing likeness. Nicholson also
made a drawing on the wood, which
was " cut in " by Charlton Nesbit,
and it appeared for the first time
in Charnley's edition of the Select
Fables, 1820.

Another pupil (John Jackson)
drew two portraits on wood, one
for his own Treatise on Wood
Engraving, the other printed in
Bell's Catalogue. Lizars did a small

Fable Cut.

Later style. B)' Thomas Bewick. (Lent by
Robert Smith, Esq., M.D.)

Steel plate, which appeared in Jardine's Natural History Library for 1843;
and a woodcut appeared in Hou-itf s Journal, 1846. Ramsay had made, in

LIFE OF THOMAS BEWICK.

jSz;, a small full length water-colour study,* from which was taken the well-
known engraving by F. Bacon, first published in 1852. It appeared in Hugo's

The Peacock.
Latest style. (Now in the Editor's collection.) Formerly lent by J. W. Ford, Esq., to the Fine
Arts Society to illustrate the " Notes " on a Loan Collection of Thomas Bewick's Works,
1881, of which 300 copies were printed (see p. 33). It is more pictorial and altogether less
conventional in treatment than the cut on the same subject given at p. 36 of this work.

folio edition in 1870, in Mr. Pearson's quarto edition of the Select Fables, iSyq,
and now, again (by the permission of the Rev. E. Pearson, to whom the plate

The l)oi3 \^<i\^ THE Bull.

Latett style. (In the Editor's collection.) F'ormerlv lent by J. W. Ford, Esq., to the Fine .-\itj
Society, to illustrate the "Notes" on Thomas Bewick (see p. 16).

belongs), in the large paper copies of tliis volume. An interesting water-colour
portrait,! also by Nicholson, has been recently etched by the great Leopold

• It is now in the possession of R. S. Newall, Esq., of Ferndene, Gateshead,
t Now in the possession of Thos. Crawhall, Esq.

.' A-'.Tr -■ =AA

THOMAS BEWEC

^■'■"

HIS WORKSHOP.

Flameng. The first fifty proofs had, as a vcmarquc, a copy of the " Old Hound,"
which was erased before the published copies were printed off, consequently
these proofs are very valuable and much in request. A full length cabinet por-
trait of Bewick, seated, by T. S. Good, was bequeathed by Miss Bewick to the
Natural History Museum of Newcastle-apon-Tyne, and has not, hitherto, been
engraved. A copperplate portrait, by Meyer, in the possession of the Rev.
E. Pearson, has been kindly allowed by him to appear in this volume.

Last, but not least, we come to an interesting picture of Newcastle-
upon-Tyne in oils, by Ramsay, called " The Lost Child." The artist has
given in the foreground the figures of himself, his wife, and Thomas Bewick,
listening to the bellman who proclaims the loss of a child. The barber from
the shop at the corner is endeavouring to console the distracted mother, while
one of the old streets, St. Nicholas' Church, and the celebrated belfry, towering
in the background, are skilfully introduced. This picture was long in the pos-
session of the late Robert Leadbitter, Esq., of Ryton-on-Tyne, and eventually
became the property of J. W. Pease, Esq., of Pendower, who has most kindly
allowed the Editor to have it etched for the frontispiece to the large paper
copies of this volume. The eminent artist, Mr. C. O. Murray,* who is allowed
to be amongst the first, if not the very first etcher of the day, undertook the
commission, and has produced a work of art which must give pleasure to all
who examine it. To have given the whole of the picture in so small a com-
pass would have rendered Bewick's figure very diminutive and insignificant ;
the artist has, therefore, skilfully selected part of the scene, which gives the
story of the group in the foreground. Nothing can be more finished, delicate,
and eflFective than the e.xecution of the work, or more e.xpressive than the
manner in which Mr. Murray has seized the feeling of the picture. Some
proofs before letters, on Japanese paper, signed in pencil by the artist, were
taken off for the Editor ; then proofs before letters, unsigned, on both Japanesef
and Creswick paper, after which all impressions will be "lettered" in the usual
manner.

The house is still standing in which, for more than fifty years, Bewick
conducted his business, during wdiich time many able pupils and much
admirable work issued from its walls. It may still be seen in St. Nicholas'
Churchyard, and presents externally the same appearance as it did of old. In
the later years of his life Bewick himself worked in the upper room, or
" garret " (as he terms it in writing to Miss Bailey), the two windows of which
may be seen in the roof, and here he kept his process of engraving bank notes

* This artist's brother is now resident in Newcastle.

t These Japanese proofs have been used for the frontispiece to the large paper copies of this
volume.

LIFE OF THOMAS BEWICK.

entirely to himself. Here the Duke of Northumberland and many gentlemen
would visit him, and when they called he used to greet their entrance by
removing his hat for a moment, and then, when that mark of respect was
over, he would replace it immediately, as it was his custom always to wear it
during the hours of labour. He constantly carried in his walks a stick, that

.> V

Bewick's Workshop in St. Nicholas' Chukchv-^rd.

(From an electrotype of the woodcut which first appeared in the Treatise on Wood Engi avmg. )
Drawn and engraved by his pupil, John Jacl^son, in 183S.

had been his brother's, and used carefully to place it on entering, in a certain

corner of his workshop. One of the duties of the youngest apprentice was

to fetch him a pitcher of fresh, cool drinking water from the neighbouring

" pant." Jackson tells us : —

"He was extremely regular and methodical in his habits of business. Until a few years cif
his death he used to come to his shop in Newcastle, from his house in Gateshead, at a certain hour
in the morning, returning to his dinner at a certain time, and, as he used to say, ' lapping up ' at
night, as if he were a workman employed by the day, and subject to a loss by being absent a
single hour. When any of his works were in the press, the first thing he did each morning, after
calling at his own shop, was to proceed to the printers to see what progress they were making,
and to give directions to the pressmen about printing the cuts. It is, indeed, owing to his
attention in this respect that the cuts in all the editions of his works published during his life-
time are so well printed. The edition of the Birds, published in 1832, displays numerous
instances of the want of Bewick's own superintendence. Either through the carelessness or
ignorance of the pressmen, many of t^e cuts are quite spoiled." — Treatise on Wood Engraving.

VISIT TO EDIX BURGH.

We may mention here, although it is not quite in the proper sequence of
Bewick's works, that he executed some very fine woodcuts, signed " T. Bewick,"
for an edition of Goldsmith's ]'icar of WiiA-rficld, published by D. Walker,

at Hereford, in 1798. The
little volume in which they
appeared, although it then
professed to be "sold by all
booksellers," has become so
extremely rare that on the
copy in the British Museum
the former owner notes that
it is the only copy he had
ever met with, and the Editor
has not seen any other. These
wood blocks are preserved in
very fine condition, and may
be presented to the public at
some future date.

In 1822, a copperplate of
the church at Ryton-on-Tyne,
signed " T. Bewick & Son,"
was engraved for the rector,
Dr. Thorp.* Mr. Croal Thom-
son says it is one of the finest
of Bewick's smaller plates.

In August, 1823, Bewick
and his daughter Jane visited
Edinburgh. He was interested
in the new lithographic pro-
cesses of Senefelder, which he
examined at Ballantyne and
Robertson's printing office,
and he was induced to make a
hurried sketch on the stone one morning before breakfast. The design was a
"Cadger's trot." From twenty to twenty-five prints from it were taken ofl
the same day on various coloured papers, and then the sketch was obliterated
from the stone.

(Lent by Robert Smith, Esq., M.D.)

This most beautiful cut is by Thomas Bewick, [t ap-
peared in the Ready Rond to Learnings and was
formerly in the Jupp collection.

* It is not now in the possession of Dr. Thorp's family, and the Editor has been unable If
trace it.

LIFE OF THO^LiS BEWICK.

Towards the close of Bewick's life he had many visitors, who have left on
record the pariiciilars of their intercourse with him. Mr. J. E. Bowman and
Mr. John F. Dovaston* visited him together in 1823 and in 1825, and, in
remarking on his method of work, they say : —

*' Here we saw his manner of producintif his beautiful art, and his nests of almost number-
less drawers, each filled with one layer of finished blocks with their faces upwards, on many of
whose maiden lineaments, fresh and sharp from the engraver, the ink-ball had never been pressed.
His tools — many of his own contrivance and makintj — were various in sizes and sorts ; some broad
trous^es for wide excavation, some narrow for fine white lines, and some many-pointed for parallels,
which, either straight or wavy, he cut with rapidity by catching the first tooth of the tool in the
last stroke, which guided it equi-distant with the former. Here he gave us his opinion of the
old .ncthod of cross-hatching — a style now obsolete, and he said, useless, as every effect may be
produced by parallel lines, broader or narrower, at greater or less distances, and in the lighter
parts by a little sinking of the surface of the block. The latter is one of his own inventions, and
by it a judicious pres'nian can prodnce every gradation of shade from ver}- black to nearly white,
between which he preferred those of intermediate strength, being decidedly against a black
impression. He very seldom engraved from any other copy than nature, having the bird (always
alive, if possible) or other subject before him, and sketching the outline on the block, filling up
the foregrounds, landscapes, and light foliage of trees at once with the tool, without being pre-
viously pencilled. It was curious tt) observe his economy of boxwood. The pieces being circular,
he divided them according to the size of his design, so as to lose little or none ; and should there
be a flaw or decayed spot, he contrived to bring that into a part of the drawing that was to be left
white, and so cut out. He said blocks, in durability of lines, incalculably out-lasted engravings
on copper, which wear very much in cleaning for every impression^ with chalk.

Bewick, as we have seen, was in early life devoted to angling, and must
have had constant opportunities of observing the haunts and habits of fishes.
He had drawn a set of fishes for Davison's Natural History, and it was natural,
therefore, that he should feel an.xious to complete his own series of works on.
that subject by a History of Fishes. After he retired (as he did about this

(From the Bewick Sale, 222.)

time) from the routine work of his shop in favour of his son, he began to
devote himself in earnest to this project, and for the remainder of his life
employed himself closelv at home, not only in filling up gaps in his History
of British Birds, but in preparing blocks for the F^ishrs. The tailpieces
especially occupied his attention, and many, by the extreme quaintness,

* Of Westfelton, near Shrewsfairy. He wrote a paper in the Mtigazitw of S\itHi al History,
Wil. HI., on the " Life, Genius, and Personal Habits of Bcwitk."

DEATH OF HIS WIFE.

humour, and vivacity of their design, showed that there was no falling off in his
imaginative and inventive faculties ; but, alas, the execution showed that the
swift, powerful hand was beginning to lose something of its cunning. Many
of these vignettes appeared — with some fishes — in the Appendix to his Memoirs
of himself, published by his daughters, in 1862. One hitherto unpublished
vignette, cut by Bewick at this time, may be seen in this volume ("Bewick
Sale" blocks, 164). It shows the same characteristics that may be observed
in the other vignettes in the Memoirs, viz., fecundity of inventiveness with
feebleness of execution.*

The death of the wife he so tenderly loved, "My Bell, " as he used affec-
tionately to call her, took place in February, iS::6, and the severance of so
close a tie must have tended to loosen the old man's hold on this life. Though
surrounded by the loving attention of his devoted family, and continuing with
steady perseverance his life-long habits of industry in wood-cutting, he did not
long survive her.

In the summer of that year he was suffering so severely from gout in the

stomach that he was ordered to Buxton, and the waters there seem to have

afforded him considerable relief. He was accompanied by his daughters Jane

and Isabella, and, writing to tell Mr. Dovaston where they were, the latter

started immediately to join them. He says : —

" There were three windows in the front room, the ledges and shutters whereof he had
pencilled all over with funny characters, as he saw them pass to and fro visiting the well. These
people were the source of great amusement, the probable histories of whom, and how they came b\'
their ailings, he would humorously narrate, and sketch their figures and features in one instant uf
time. 1 have seen him draw a striking likeness on his thumb-nail in one moment, wipe it off with
his tongue, and instantly draw another. We dined occasionally at the public table ; and one day,
over the wine, a dispute arose between two gentlemen about a bird, but was soon terminated bv
the one affirming he had compared it with the figure and description of Bewick, to which the other
replied that Bewick was ne.xt to nature. Here the old gentleman seized me by the thigh with his
very hand-vice of a grasp, and contrived to keep up the shuttlecock of conversation playfully to
his highest satisfaction, though they who praised him so ardently little imagined whose eart
imbibed all their honest incense."

Mr. Dovaston also tells us : —

"Bewick's powers of whistling appear to have been extraordinary. His 'ear,' as a musical
feeling is called, was so delicately acute and his inflexorial powers so nice and rapid, that he could
run in any direction or modulation the diatonic or chromatic scale, and even split the quarter
notes of the inharmonic. Neither of which, however, did he understand scientifically ; though so
consummately elegant his e.xecution, and his musical memory was so tenacious, that he couKl
whistle through the melodies of whole overtures."

In the following year, 1827,! Audubon, the great American naturalist.

* This work on fishes U'as not, however, destined to reach completion. See the " Life of
Robert Elliot Bewick " at a subsequent page.

f The Editor's father and grandfather visited Mr. Audubon during his stay in Newcastle,
and the former distinctly recalls the beautiful drawings of American birds hung round the room —
occupied for the time by Mr. Audubon — above the late Mr. Bowman's shop, a bookseller who
preceded Mr. Dodsworth in Collingwood Street.

LIFE OF THOMAS BEWICK.

visited Newcastle, and immediately sought the acquaintance of Bewick. These
two men not only loved Nature in common, and spent their lives in illustrating
her, but both possessed that indomitable perseverance which conquers every-
thing ; so that they must have instinctively felt the kindred nature of their
minds. Audubon, after he had lost the drawings and studies which represented
the physical endurance and strenuous labour of years, spent in the wilds of
America, deliberately determined to retrace his steps, and patiently and
doggedly undertook and achieved the reproduction of his work ! Such energy
must have met with a responsive echo in the breast of Bewick ; and we wonder
not, therefore, at the pleasure this meeting afforded them. Audubon has thus
graphically recorded it for us : —

"At length we reached the dwelling of the engraver, and I was at once shown to his work-
shop * There I met the old man, who, coming towards me, welcomed me ivith a hearty shake of
the hand, and for a moment took off a cotton nightcap, somewliat soiled by the smoke of the place.
He was a tall stout man with a large head, and with eyes farther apart than those of any man that
I have ever seen — a perfect old Englishman, full of life, although seventy-four years of age, active,
and prompt in his labours. Presently he proposed showing me the work he was at, and went on
with his tools. It was a small vignette, and represented a dog frightened at night by what he
fancied to be living objects, but which were actually roots and branches of trees, rocks, and other
objects bearing the semblance of men.f This curious piece of art, like all his works, was exquisite,
and more than once did 1 feel strongly tempted to ask for a rejected bit, but was prevented by his
inviting me up stairs, where he said I should soon meet all the best artists in Newcastle.

"There I was introduced to the Misses Bewick, amiable and affable ladies, who manifested
all anxiety to render my visit agreeable. Among the visitors 1 saw a Mr. Good, and was highly
pleased with one of the productions of his pencil— a full-length miniature in oil of Bewick, well
drawn, and highly finished.

"The old gentleman and I stuck to each other, he talking of my drawings and I of his
woodcuts. Now and then he would take off his cap and draw up his grey wursted stockings to
his nether clothes ; but whenever our conversation became animated, the replaced cap was left
sticking, as if by magic, to the hind part of his head, the neglected hose resumed their downward
tendency, his fine eyes sparkled, and he delivered his sentiments with a freedom and vivacity which
afforded me great pleasure. He said that he had heard that my drawings had been exhibited in
Liverpool, and felt great anxiety to see sume of them, which he proposed to gratify by visiting me
early next morning along with his daughters and a few friends. Recollecting at that moment huw
desirous my sons, then in Kentucky, were to have a copy of his works on quadrupeds, I asked him
where I could procure one, when he immediately answered, ' Here,' and forthwith presented me
with a beautiful set."

Another day, Audubon was in\-ited to breakfast with Bewick, and he
tells us : —

"The good gentleman, after breakfast, soon betook himself to his labours, and began to
show me, as he laughingly said, how easy it was to cut wood ; but I soon saw that cutting wood
in his style and manner was no joke, although to him it seemed indeed easy. His delicate and
beautiful tools were all made by himself; and I may with truth say that his shop was the only
artist's 'shop' that I ever found perfectly clean and tidy.

"Another invitation having come to me from Gateshead, I found my good friend seated in
his usual place. His countenance seemed to me to beam with pleasure as he shook my hand. ' I
could not bear the idea,' said he, ' of your going off without telling you, in written words, what 1
think of your Birds of America. Here it is in black and white ; and make of it what use you may,

• He now worked in a private workshop in his own house.

f The vignette appeared in Bewick's Memoirs of himsell, p. 134.

REVISITS LOXDOX.

8 1

if it be of use at all.' I put the unsealed letter into my pocket, and we chatted on subjects
connected with natural history. Nuw and then he would start and exclaim — ' Oh, that I were
young again ! I would go to America too. He}' ! what a country it will be, Mr. .Audubon.' I
retorted by exclaiming — ' Hev ! what a country it is already, Mr. Bewick.' In the midst of our
conversation on birds and other animals he drank my health, and the peace of all the world, in
hot brandy toddy ; and I returned the compliment, wishing, no doubt, in accordance with his
sentiment?, the health of all our enemies. His d.iughters enjoyed the scene, and remarked that
for years their father had not been in such a flow of spirits."

In the summer of 1828 he revisited London with his two daughters on
business connected with his books. He must have been gratified by an invita-
tion from his brother artists, the engravers, to a pubhc dinner to be given by
them in his honour. His strength, however, was faihng, and he did not feel
equal to accepting this compliment. When his old friend, William Buhner,
took him for a drive to the Zoological Gardens he could not even rouse himself
to get out of the carriage to see the animals. He called on Audubon, and to
Mr. Dovaston he wrote several very humorous letters on the artificial life of
the " Cockneys, with the mass of whom, since he was amongst them half a
century before, he thought the march of intellect had not equalled the march
of impudence."

On his return home he devoted himself to a project he had long been
revolving in his mind, and by which he hoped to enhance the effect and enlarge
the sphere of usefulness of his favourite medium, wood, until, as he hoped,
it might rival copper or steel in its adaptability to the purposes of engraving
large subjects. Papillon, a Frenchman, had suggested the idea in 1768, and
Bewick now determined to carry it into effect. It was to prepare a series of
woodcuts of the same design, on blocks of the same size, and merely differing
in the arrangement of the lines on each woodcut, and then print them one
over the other, by which means he hoped to obtain more richness of effect and
a greater variety of tint than formerly. From the durability of woodcuts he
thought this scheme would be especially adapted for printing ofT immense
quantities of cheap publications to ornament cottage walls. With a prescience,
some will think, of his approaching end, Bewick chose as his subject "Waiting
for Death," an old horse in the last stage of decrepitude and decay, a subject
appealing for pity to both eye and ear, as he wrote a most pathetic tale to
accompany it. He hoped it might inculcate consideration for animals,* and
thus accomplish a twofold object he had at heart. Alas ! one only of the
blocks was ever finished.! ^^Ir. C. Thomson gives us a letter dated November
1st, 1828, in which Bewick asks Mr. Pickering, the bookseller, to supply him

* It was to have been dedicated to the Society for the Prevention of Cruelty to Animals.

T In 1832, some impressions of it were issued by his son ; one lies before us, and, notwith-
standmg the unfurnished appearance, it is so softly printed on suitable paper that the effect is
much more pleasing than some coarser impressions re-isiued only a few years a^o.

LIFE OF THOMAS BEWICK.

with some vellum* of excellent quality he had ordered from the Continent, and
adds, "I have now nearly finished a large woodcut [12 inches by 9] and it
would be very desirable to have a few printed on vellum," and hopes soon to
send him something he must do him the favour to accept. That very day,
Bewick himself took the block on which he had been engaged to be proved.
It was a Saturday, and the end was near. On Sunday he took ill, he never
rallied, and a few days afterwards the good old man sank gently to his rest.
The work in this life, of that busy hand and active brain was over. His death
took place at V}.o in the morning on November Sth, 1S28. His body was laid
in Ovingham Churchj-ard, where his father, mother, brother, and sister were
already gathered, and beside his wife, the most tenderly cherished of them all.
One by one, the rolling years brought his remaining loved ones — a son and
two daughters — to that last quiet resting place ; and, even, as their earthly
remains are not divided, their spirits also, we doubt not, rest together in peace
in the company of the Blessed.

The Bewick Bi:ki.-\l Place at Ovingham.
([■'rom an electrotype obtained from Messrs. Chatto »S^ ^Vindus )

* \'ellum, tiot parchment, be it observed (see chapter on Chillin<jham Bull). Evidently
Bewick considered the experiment then tried had been successful, and wished to repeal it.

HIS PUPILS.

Bewick's Pupils.

JOHX BEWICK
Was born in 1700, and brought up in the same manner as his elder brother.
He, however, remained longer at home (until he was seventeen), and he
does not seem to have shown the same earl\- love for drawing ; nevertheless,
under training, he soon developed the family talent. He did much good

work during his comparatively short
life; some of it attesting really fine
artistic feeling, and his last — the designs
for Somerville's Chase — clearly show
to what a height his genius might have
carried him, had he been spared to
complete a longer life. His brother,
Thomas, finished the cutting of these
blocks. We mav feel sure it was a labour
of love, for nothing can exceed the
richness and beauty of their execution ;
and he seems to have taken a mournful
pleasure in interpreting his brother,
though by almost excelling himself.
Almost all we know of John is from
this affectionate brother's pen, and so
we give it in his own words from the
Memoirs : —

"Durincr my absence in London, Mr.
Beilhy hr.d taken an apprentice with a premium ;
mine. With him I was extremely happy. He
and my friends were his friends. -Mr. Beilby
was as well pleased with him^as I cotild^possibly be ; for besides his affiible temper, he took any
kind of work in hand so pleasantly, and so very soon learned to execute it well, that he could
not miss giving" satisfaction. This he continued to do as long as he was with us ; but other
parts of his conduct, when he arrived at manhood, was not so well, and gave me great uneasiness;
for he got acquainted with companions whom I thought badly of, and my remonstrances respect-
ing them proved in vain. He would not, as he called it, be dictated to by me; but this I
persisted in till it made us often quarrel, which was distressing to me, for my regard for him was
too deeplv rooted ever to think of suffering him to tread in the paths which led to ruin, without
endeavoui-ing to prevent it. To the latest day of his life he repented of having turned a deaf ear
to my advice ; and as bitterly and sincerely did he acknowledge the slighted obligations he owed
me. He rued; and that is as painful a word as any in the English language. As soon as I
thought my brother might be able to work his way in the world, he having been, I think, about
five years with me, I gave him his liberty, and he set off to London, where, being freed from his

(Lent by Robert Smith, Esq., M.D.)
This is a very rare and early cut by John Bewick.

and to make us equal, I took my brother John as
was constantly cheerful, lively, and very active.

LIFE OF THOMAS BEWICK.

former associates, his conduct was all that could be desired, and he was hiq-hly respected and
esteemed. He was as industrious in London as he had been with us, and had plenty of work tu
do. He was almost entirely employed
by the publishers and booksellers in

n II 'I II II II II n !■ 1' I II II II II '•. !■ I' II ir i r n ii n a n n ii ii n it ii i rx .

i,:lLjnLiMiji II 11 I II II II II II n I n II II 11 11 II ., u II II II 11 11 II n »

By John Bewick.
(Lent by Robert Smith, Esq., M.D.)

de^ig"ning and cutting an endless variety
of blocks for them. He was extremely
quick at his work, and did it at a very
low rate.* His too close confinement,
however, impaired his health. He re-
visited Chcrryburn, where he did not
remain long, till he thought himself
quite recovered, and he then returned
to London, where he continued a few
years long-er, and, when the same kind
of confinement affected his health as
before, a similar visit to his native air
was found necessary ; his health was
ai;;;ain restored to him, and ag^ain he re-
turned to London. He, however, found
that he could not pursue the same kind
of close confinement, on which account
he eng^aged to teach drawing at the
ffornsey Academy, then kept by Mr.
Nathaniel Norton, which obliged him
to keep a pony to ride backwards and forwards ; thus dividing his time between his work-office
in London and the school, for some years, when his health began again to decline, and he finally
left London early in the summer of 1795, and returned once more to the banks of the Tyne.
Here he intended to follow the wood engraving
for his London friends, and particularly for Wm.
Bulmer, for whom he was engaged to execute a
number of blocks for the Fabiieitx^^ or Tales of
Le Grand^ and for Somerville's Chase. Many of
the former he had, I believe, finished in London,
and had sketched the designs on the blocks for
the Chase ; and to those I put the finishing hand,
after his decease, which happened on the 5th of
December, 1795, aged 35 years. The last thing I
could do for him was putting up a stone to his
memory at the west end of Ovingham Church,
where, I hope, when my 'glass is run out,' to be
laid down beside him."

'^ While my brother was my apprentice he
frequently accompanied me on my weekly visits to
Cherryburn. He was then a clever, springy youth,
and our bounding along together was often com-
j)ared to the scamperings of a pair of wild colt^."

* On January 9th, 1788, Thomas writes to
his brother in London : — " I am much pleased by
the cuts for the Death's Dance^ and wish much to
have the book when it is done. 1 am surprised
you would undertake to do them for 6s. each ; you
have been spending your time and grinding out
your eyes to very little purpose indeed."

f This edition by Bulmer of the Fahlieitx is a very fine one, in two volumes, octavo. A
copy, formerly in the possession of the late Rev. Mark Pattison, Head of Lincoln College, Oxon,
lies before the Editor. The designs of the woodcuts by John are good, but the execution is very
hard, and inferior to Thomas's work, and not to be compared to the illustrations in Somerville's
Chase.

Bv John Bewick.
(Lent by Robert Smith, Esq., M.D.)

HIS PUPILS.

The following are amongst his works: — The Children'' s Miscellany, 17S7 ;
Honours of the Table, i-iM \ The Emblems of Mortality, \-,^<). The idea of
the illustrations for this important work were taken from the Imagines Mortis.
printed at Lyons in 1547, and in plan resembles Holbein's celebrated Dance
of Death. Thomas Bewick, who, as we have seen by his letter, much admired
these cuts, adopted the same notion in some of his Fables.* This was followed

by Robinson Crnsoc (very poor) ; Proverbs
Exemplified. 1790; Blosso>7is of Morality.
Ritson's Robin Hood, The Beauties of Crea-
tion, 1 790 ; and Progress of Man and Society,
all containing a good many cuts by John ;
and no less than seventy-four in the Looking
Glass for the Mind zxt, by him.

This hard work, scanty pay, and London
air, told, as we have seen, on his health, and
compelled him to endeavour to recruit it in
his native air. On his return to London in
1793, he worked for Bulmer on Robert
Pollard's Peerage,^ and in 1794 cut thirty-
five engravings for Newbery's Instructive
Tales for Youth, and now, just as his powers
were beginning to culminate, his life was
drawing to its close. Bulmer determined to
issue from his "Shakespeare printing office"
specimens of book printing which should
excel, both as regards type, paper, illustra-
tive designs, and wood engraving, anything
hitherto attempted, by combining all the
talent and all the art resources of that day,
and he called upon Thomas and John Bewick,
with some of the pupils of the former (as we shall see presently), to help him.
The Poems of Goldsmith and Parnell, 1705. and Somerville's Chase were the
result of this great effort ; and of Somerville's Chase Hugo says : — " This work

(Lent b}' Robert Smith, Esq., M.D.)

This fine block has been cut down. It
is inserted here as a good specimen
of the strongs contrasts of black in
close ju.Ktaposition to white, which
was a peculiarity much aimed at by
John Bewick.;]; A good judge (Mr.
M. Mackey) is inclined, however, to
attribute this cut to Charlton Xesbit.

* See page 20 in this volume,

t See the Notes on the " Bewick Sale " Wood Blocks in this volume. No. 209.

J Speaking of John Bewick, the Treatise on Wood Engravmg, after giving (at page Cog) a
facsimile of one of his cuts in the Blossoms of Moralilv, published about 1796, says: — ''It
exemplifies his manner of contrasting positive black with pure white;" and, on the preceding
page, " His best cuts may be readily distinguished from his brother's by the greater contrast of
black and white in the cuts engraved by John, and by the dry and withered appearance of the
foliage of the trees."

LIFE OF THOMAS BEWICK.

contains the best specimens of John Bewick's abilities as a designer ; " and a
writer in the Gentleman's Magazine, speaking of the death of John Bewick,
says : — " The works of this young artist
will be held in estimation ; and the en-
gravings to Somerville's Chase will be a
monument of fame of more celebrity than
marble can bestow." These designs were
his last, and when he laid them down
his work on earth was over, and his sor-
rowing friends laid him soon after in the
quiet churchyard at Ovingham, where
his remains sleep beside those of his
brother.

Before finally leaving the subject of
John Bewick we may correct here, on
iMiss Bewick's authority, a small error into
which Mr. Hugo seems to have fallen.
At page 291, Bcicick Collector's Supple-
ment, he catalogues the following : —

" (539O -I- The Oracles: Containing^ Some
Particulars of the History of Billy and Kilty
Wilson [etc.] London : Printed for E. Nevvbery,
at the Corner of St. Paul's Church-yard, by E.
Rider, No. 36, Little Britain. [Price Si.xpence.]
[.N'.d.] i8mo., pp. 124. With thirteen cuts, to which I give the benefit

John Bewick's Book-pl.^tk.

B}' himself. (From the Bewick Sale, 223.)
See the Bewick Collector, page J08. .^n
impression from this block wa'^ gi\'en as a
treasure by Miss Bewick to Mr. Hugo.

:if a doubt. They are

(Lent by the Rev. W. J. Townsend.) Formerly in the possession of J. W. Barnes, Esq.,
executor to the Misses Bewick. While in his collection they were lent to illustrate the "Notes
and Catalogue " of the Bewick Collection at the Fine .Arts Gallery in London, in iSSi, edited by
.Mr. !■". G. Ste])hens, where they appeared at page 4, and were attributed to John Bewick ; but
the Editor is informed by Mr. D. Croal Thomson, who also had something to do with compiling
that work, that these blocks have since been ascribed to James Lee,* a wood engraver, who died in
1804, and was largely employed, so Redgrave informs us, in illustrating books for children. Mr.
.Matthew Mackey, however, an excellent judge, considers they are not at all like Lee's work, and
are of the Bewick school, most probably by John Bewick.

* .\ full account of these Lees, father and son, may be found at page 627 of the Treatise on
WiWtt £)igraving.

fns PUPILS.

exactly similar in style to those of No. (4108), of which a specimen is given at p. 31, and are,
I believe, the work of Lee, to whom, without doubt, the majority of the cuts in Newbery's pub-
lications, ordinarily attributed to John Bewick, are to be referred."

" Very fine copy, in its original Dutch boards. It belonged to ' ilary Burchell, Feby. 15th,
1S03.'"

In the Editor's copy of this work — formerly Miss Bewick's — she remarks,

in an autograph side-note, on the above :—

".\ C0P3- of this Book was sent to R. E. Bewick by his uncle, John Bewick, who engraved
the cuts." "J.B."

We think this MS. note is worth recording, as great confusion seems to have
taken place between the work of Lee, the engraver, and that of John Bewick.
Mr. Hugo made the extraordinary statement that John Bewick is supposed to
have signed some of his blocks " Lee" ! and several critics now ascribe to Lee
the set of the woodcuts (specimens of which are inserted here) which were
attributed to John Bewick in Mr. Stephens's "Notes" on the Bewick Loan
Exhibition, 1881.

ROBERT ELLIOT BEWICK,
Thomas Bewick's only son and second child, was born in April, 1788, and
was brought up in his father's workshop as an engraver. He undoubtedly
executed much careful work for the firm ; but he lacked originality or the
decision of purpose to develop his talents in the way his father fondly hoped,

and seems always to have
laboured under the disad-
vantage of bad health.
Anxiety on this score, and
the most tender affec-
tion, breathe through the
father's touching letter to
his wife from Wycliffe, in
1 791. He writes : — "My
dear little boy is hardly
ever out of my mind. I
hope the sea will mend
him. If upon my return
I find him recovered I
think I shall be frantic
with joy."* So wrote the
young father ; and, later in life, to Richard Wingate, he says : — " 7th May,
1821 My son had another bad bout since I saw you ; he

(From the Bewick Sale, 224.)
This exquisite little bird, signed R. E. B. (Robert F.lli'.t
Bewick), is an original design which here makes its fir<t
appearance in public.

Letter publirhed in the Transactions of the Natural History Society of Xorthumberlatid.

LIFE OF THOMAS BEWICK.

was attacked with it on Friday after dinner, and it kept him in great misery
till about midnight on Saturday or towards Sunday morning. It has left him
very faint and weak."* And in his old age, Thomas Bewick, speaking in his
Memoirs of his son, says : — " And now, when the time is fast approaching for
my winding up all my labours, I may be allowed to name my own son and
partner, whose time has been taken up with attending to all the branches of
our business, and who, I trust, will not let wood engraving go down, and though
he has not shown any partiality towards it, yet the talent is there, and I hope
he will call it forth."

This only boy, so tenderly loved, grew up to be a most dutiful, affectionate
son, his father's right hand in the business (which he eventually carried on
after his death) ; but he never became a great artist, nor rivalled his father,
nor equalled his uncle in design and
engraving. Perhaps some constitu-
tional weakness induced a timidity
paralyzingtoany original effort. The
words, "I am afear'd," are very sig-
nificant. He used them in speaking
of his intention (never carried out)
of completing and publishing the
book on fishes which his father had
]irojected as the complement of the
Quadrupeds and the H/rds, and on
which he himself had spent much
time and labour. Miss Bewick tells
us, in the Appendix to the Memoirs,
that he left at his death "About fifty (t'™™ ^'^^ ^tv<\,V Sale, ::5.)

highly finished and accurately coloured drawings of fishes from nature, together
with a portion of the descriptive matter relating to the work." These very beau-
tiful drawings may now be seen at the British Museum, as they formed part of
the gift of his sister. His father, in his old age, after he retired from taking an
active part in the business, had employed himself at home in engraving many
of them, and his touch may be recognized in "The Basse" and some others of
those given in the Appendix to the Memoirs. The son's fine and delicate, but
much less powerful and original, touch may be seen in " The Maigre " (signed
by him), the last of that series. The Editor is glad to be able to give a signed
specimen of his wood engraving here from the Bewick Sale, where the same
characteristics are displayed.

* Letter in the possession of .^dmir-il Mitfurd.

HIS PUPILS.

Making the water-colour drawings from nature seems indeed to have been
more to his taste than engraving them. Mr. Dobson says: — ''He copied
Nature with great fidelity, and was exceedingly minute and patient ; but as an
engraver he never developed the latent talent which his father believed him to
possess." Neither does Mr. Thomson rank him in that department very
high, although he has taken great pains to discriminate and catalogue the blocks
and plates he executed, which we need not here recapitulate. The Tyne at
Bywell, an unpublished book-plate, and one of the finest copperplates he ever
engraved, we are fortunate enough to be able to give amongst the ''Bewick
Sale " plates in this volume (No. XIX). He seems to have been very fond
of music, and visitors to his father's house have frequently recorded his per-
formances on the Northumbrian small pipes. ^ portrait of him with his pipes
mav be seen in the Newcastle Museum. He lived unmarried with his sisters
in Gateshead until his death in July, 1849, and was buried beside his father and
uncle in Ovingham Churchyard.

ROBERT JOHNSON.
Foremost amongst Bewick's pupils should stand the name of Robert
Johnson. It has been argued by some people that none of these pupils were of
any genius because they did not distinguish themselves especially by very
great original works after Bewick's time. Perhaps the early death of many of
them mav account for this, their career having been cut short prematurely and
in the lifetime of their master. Perhaps others never achieved distinction
because they had not his steadiness of character, fixity of purpose, and sound-
ness of constitution — all qualities which go to ensure success in a man of genius,
and without which the highest talent comes not to full fruition, but is apt to
drop, like immature fruit, withered before its time. Perhaps, because Luke
Clennell (''the genius of the group," Mr. Dobson calls him), and Harvey
(Bewick's favourite pupil), abandoned wood engraving entirely, for the more
remunerative work of designing for others. It may, however, be fairly said of
Robert Johnson that he was a young man of rare talent and infinite promise ;
but, he died alas ! when only twenty-six, and, like Luke Clennell, his intellect
became clouded before the end. He also resembled Luke Clennell in that the
bent of his mind was in the direction of design and colouring rather than
engraving ; indeed, he is said never to have cut a wood block at all. He was
born at Shotley, in the County of Durham, in 1770, and apprenticed in 1788
to Beilby and Bewick to learn copperplate engraving. Jackson says : —

*' He does not appear to have been desirous to excel as an engraver. His great delight con-
sisted in sketching from nature and in painting in water-colours, and in this branch of art, while
yet an apprentice, he displayed talents of a very high order."

LIFE OF THOMAS BEWICK.

The Treatise on Wood Engraving tells us : — ■

"Johnson's water-colour drawings for most of the cuts in Bewick's Fables are extremely
beautiful. They are the soul of the cuts, and as a set are perhaps the finest small drawings of
the kind that were ever made. Their finish and accuracy of drawing are admirable — they look
like miniature ' Paul Potters.' It is known to only a few persons that they were drawn by
Johnson during his apprenticeshif). Most of them were copied on the block by \\'illiam Harvey,
and the rest chiefly by Bewick himself."

Jackson goes on to say the Earl of Bute called one day at Beilby and
Bewick's shop, and was so pleased with a portfolio of Johnson's drawings, made
during his leisure hours, that he took forty pounds worth. This, unfortunately,
led to a dispute ending in a lawsuit, the masters claiming the money on the
score of their apprentice's work being theirs, because they taught him the art,
and the making of such drawings was part of his business, Johnson's friends,
contending that it was not so, and they won the case ; as Jackson says : —

" It was elicited, on the e.xamination of one of their own apprentices, Charlton Nesbit, that
neither he, nor any other of his fellow apprentices was taught the art of drawing in water-colours
by their masters, and that it formed no part of their necessary instruction as engravers."

Nevertheless, we think Johnson cannot have been entirely self-taught ; at
any rate, he must have gained many hints from the privilege of seeing the
exquisite water-colour studies which we now know* Thomas Bewick was in
the habit of making for his birds and vignettes. Doubtless, one or two episodes
like this caused the asperity, almost amounting to bitterness, rather surprising
in so kindly and right-minded a man, with which Bewick in his Memoirs
alludes to ingratitude. Doubtless, he was a little jealous of his art, and, under
the influence of Beilby, showed himself perhaps a little " ower careful of the
siller." From himself we learn he thought Beilby rather "near" when they
came to the business of closing the partnership. Perhaps, also, many of his
pupils looked out for their own interest after lea\-ing him, more than was con-
sistent with fairness to their master. A flagrant instance of this was given by
Anderson, to which we shall allude hereafter. Robert Johnson gave up in
a great measure copperplate engraving as soon as he was his own master, and
applied himself to his favourite pursuit of drawing. The Treatise on Wood
Engraving tells us : —

"In I7g6, he was engaged by Messrs. Morison, booksellers and publishers, of Perth, to
draw from the original paintings the portraits intended to be engraved in The Scottish Gallery, a
work edited by Pinkerton, and published about 1799. When at Taymouth Castle, the seat of the
Earl of Breadalbane, copying some portraits painted by Jameson, the Scottish Vandyke, he
caught a severe cold, which, being neglected, increased to a fever. In the violence of the disorder he
became delirious, and, from the ignorance of those who attended him, the unfortunate young artist,
far from home, and v\itlK>ut a friend to console him, was bound and treated like a madman. A
physician having been called in, by his order, blisters were applied, and a different course of
treatment adopted. Johnson recovered his senses, but it was only for a brief period ; being of .1
delicate constitution, he sank under the disorder. He died at Kenmore on the :;9th October,
1796, in the twentj'-sixth year of his age."
*

* b'rom the exhibition of them permitted in London, in iSSo, by the .Misses Bewick, and their
present to the British Museum.

"The Departure,'' in Goldsmith's Deserted Village, and "The Hermit at
his Morning Devotions," in the Hermit of Warkvort/i, were designed by him,
and engraved by Thomas Be\vicl<. Mr. Thomson says : —

" Bewick's mother had been nursed during her last ilhiess hy Johnson's mother, and it was

at the invalid's request that the youth was taken for an ajiprcntice As a

designer and water-colour painter his work ^^■as of the verv highest quality. . . . Some
of his larger works are of the most c-xquisite kind. One in the possession of Mr. Crawhall. New-
castle, is a perfect gem, and equal in every respect to Turner or Girtin. This drawing is, indeed,
almost too valuable for a private collection ; connoisseurs will be greatly and agreeabi)' surprised
to see its marvellous beauty."

The Editor having seen it, may add that, high as is this praise, it is not
exaggerated, and that we undoubtedly lost by poor Johnson's early death, a
water-colour painter of the first rank. Could not the Fine Art Society induce
the Marquis of Bute, the Marquis of Breadalbane, the owner of the Pinkerton
drawings, and the owner of those likened to " Paul Potters,'' together with Mr.
Crawhall, to unite in perinitting their Johnson treasures to be exhibited in
one group, and so give some connected idea of this young artist's genius to
a world that has hardly ever heard of him?

"John Johnson, a cousin of Robert, was also an apprentice of Beilby and Bewick. He was
a wood engraver, and executed a few of the tailpieces in the History cf British Birds. Like
Robert, he possessed a taste for drawing ; and the cut of the hermit at his morning devotion,
engraved by T. BevAick, in Poems by Goldsmith and Parnell, was designed by him. He died at
Newcastle, about 1797, shortly after fhe expiration of his apprenticeship." — Treatise on WotM^
Engrai'ing.

CHARLTON NESBIT.
Charlton Nesbit, in Air. Dobson's opinion the most distinguished as an
engraver, pure and simple, of the elder pupils, was born at Swalwell, in the
County of Durham, in 1775. This village lies on the banks of the Tyne,
where his father was a keelman. He was apprenticed, in 1780, to Beilby and
Bewick, and he was soon allowed to do work for the firm. He drew and
engraved the bird's nest above the Preface to Vol. I. of the Birds* and engraved
most of the vignettes and tailpieces to the Poems of Goldsmith and Parnell
during his apprenticeship. In 1797-9, he received the silver palette of the
Society of Arts for an impression from a block (the largest that had then ever
been attempted) of St. Nicholas' Church, after a water-colour drawing by
Robert Johnson. It measured 15 inches by 12. Jackson tells us it was made
"on twelve different pieces of bo.xwood firmly clamped together and mounted
on a piece of cast iron to prevent their warping." This must have been an
ambitious experiment for so young a man. In 1 799, he went to London, where
he dated from Fetter Lane, and lived there until 18 15. He engraved a great
deal during this time, after the designs of Thurston, for Scholey's History of

* See Notes on the "Bewick Sale" wood blocks in this \'olume,
199), the cutting of which is there attributed to Charlton Nesbit.

' The Dead Horse " (No.

LIFE OF THOMAS BEWICK.

England and R. Ackermans & Co.'s Religious Emblems, published in 1808.
On the latter he was employed in conjunction with Clennell, Branston, and
Hole. Jackson says they were unquestionably the best cuts of theii" kind
which up to that time had appeared in England. He goes on to say : —

"Clennell's are tlie nio&t artist-
like in their e.xecution and effect, while
Nesbit's are ensjraved with greater care.
Branston, except in one cut, ' Rescued
from the Floods,' does not appear to
such advantage in this work as his
Northern rivals. There is only one cut,
'Seed Sown,' engraved by Hole. The
following may be mentioned as the best
of Nesbit's cuts in this work : ' The
World Weighed,' 'The Daughters of
Jerusalem,' 'Sinners Hiding in the
Gra^■e,' and 'Woinided in the Mental
Eye.' The best of Clennell's are : 'Call
to \'igilance,' 'The World made Cap-
tive,' and ' Fainting for the Li\'ing
Waters.' These are perhaps the three
best cuts of their kind that Clennell
ever engraved." — Trtuit:sf on Wocti Eu-
gyaving.

He seems early to have

realized sufficient to make him

independent. He returned to

the North in 1.S15, where he retired to Swahvell, not attempting to establish

himself as an engraver in Newcastle, as Nicholson had done, although he

occasionally — very occasionally — continued to e.xecute commissions for the

London publishers. While living in the country (1818) he engraved a large

cut of " Rinaldo and Armida," for Savage's Hints on Decorative Printing.

This, and another by Branston (for which Jackson is careful to tell us they

Were never paiil), were expressly given to show the perfection to which wood

engraving had then been brought.

"The foliage, the trees, and the drapery in Nesbit's cuts are admirably engraved; but the
lines in the bodies of tlie figures are too much broken and 'chopped up.' This, howe^^er, was not
the fault of the engraver, but of the designer, Mr. J. Tliurston. The lines, which now have a
dotted appearance, were originally continuous and distinct; but Mr. Thurston objecting to them
as being too dark, Nesl>it went over his work again, and with immense labour reduced the strength
of his lines, and gave them their present dotted appearance. As a specimen of the engraver's
abilities, the first proof submitted to the designer was superior to the last." — Treatise on Wood
Engraving.

In 1830, Nesbit returned to London, and executed some fine cuts for
N'orthccjte's Fables (second series), of which, "The Self-important," ''Hare
and Biamble," " Tlie Cock, the Dog, and the Fox," and "The Peach and the
Potato," are the best. As a wood engraver only, he is deemed the best of

(Lent by Robert Smith, Esq., M.D.)

This cut is signed by C. Nesbit, and appeared in
Bloomfield's Rural Tales and Sonrs, iSo;.

HIS PUPILS.

'c^:-

(Lent by Robt. Smith, Esq., M.D.)
By Luke Clennell. Yrom Scotfis/:

Bewick's pupils, and the excellence of his work will always command for him
one of the highest places in that branch of art. He died at Queen's Elm,
Brompton, in 1S38.

LUKE CLENNELL.
Mr. Austin Dobson has noted for us that this is a truly Northumbrian
name, and that besides Esquires of that ilk (surviving, we may add, to
this day, in the person of Mr. Fenwick-Clennell, of Harbottle Castle, owner of

the manor of Clennell, hard by), there was a high
sheriff of the county who bore the name of Luke
Clennell, in 1727. Derived, doubtless, from the
same stock, though when or how has not been
recorded, our artist was born at L^lgham, in North-
umberland, in 1 78 1. The son of a farmer, he was
intended by his father to be a grocer ; but, like
the 3-outhful Shakespeare, he got into some trouble
by applying a door to a purpose for which it
had not been originally intended, viz., to receive
Mhisij-els, page 155, published a Caricatured portrait of a neighbour. Li his case
by Davison, of Alnwick. ^^g Q^g^^ jj^ Shakespeare's the inner, lineaments

were depicted ! Each used the weapon that came readiest to his hand, and,
whether with pencil or pen, each presaged, by his satirical use of it, the instru-
ment by which he would rise to
future fame ! The comparison
may be carried still further, for
the early misuse of great talents
led in both cases to an enforced
departure from the country to
the town, and thus, perhaps, in
both, brought out a genius that
might otherwise have lain dor-
mant and undeveloped. His
uncle, Thomas Clennell, of Mor-
peth, noted this propensity for
drawing, and, like a wise man,
apprenticed him, in 1797, to
Bewick for seven years. He

(Lent by Robert Smith, E?q., ^LD.)

Attributed to Clennell. Select Scottish Songs, by Burns.
1810.

soon mastered the art in so satisfactory a manner that he was entrusted to
cut the blocks for many of those tailpieces in the second volume of the Birds.
which were designed by Robert Johnson. In drawing and sketching from nature

LIFE OF THOMAS BEWICK.

he also began to excel, and imitated his master by seeking fresh "subjects"
during many an expedition on foot into the country. He drank deeply from the
inspiration of that master, and caught much of his spirit ; and we cannot help
thinking, however little water-colour painting may have formed part of the
instruction imparted to the apprentices, or thought necessary in their education
as engravers, some hints must have been given by Bewick to the most apt of
his pupils. They developed much talent in this direction, and must have
watched with delight their master's procedure in this department of his art.

It should ever be borne in mind that the Bewicks, and in this the pupils of
their "school" followed them, were artists as well as engravers, inventing their
own designs, making studies from Nature to be transferred by themselves to
the block, and that they were consequently entitled to rank as a class higher
in the artistic world than the more mechanical wood engravers of the present
day, who, however they may excel in technical skill, are not generally speaking,
in the strict sense of the word, artists. Others now originate, and their
drawings being reduced by photography to the size desired on the wood, they
are then " cut in " only, by the wood engraver.

Clennell, after the termination of his apprenticeship, continued to work
for Bewick, and many of the illustrations for The Hive of Ancient and Modern
Literature, and Wallis and Scholey's History of England, issued about this
time from the Bewick workshop, were both designed and engraved by him.
The latter work led to his leaving Newcastle and settling in London, in the
year 1804. For, thinking he was not sufficiently well paid by Bewick, and
that his master received too large a proportion of the price,* he put himself in
communication with the publisher, Mr. R. Scholey, who sent for him to
London to complete the cuts for his firm direct. Bewick naturally felt
aggrieved at a work actually in progress in his shop being taken out of his
hands. Clennell would have acted more honourably had he waited until the
History of England was completed before undertaking work for Scholey. \\\
1806, he received the gold palette of the Society of Arts for an engraving on
wood of a battle; and fame and fortune being rapidly attained, he soon after
married the eldest daughter of Charles Warren, the copperplate engraver, who
was, Mr. Dobson tells us, "a worthy rival of Raimbach, Finden, and the little
knot of talented men who, at the beginning of the present century, emulated
each other in producing the delicate book embellishments issued by Sharpe,
De Rovery, and others." Clennell's introduction to this society had no
doubt an important influence over his future career. In 1807, Davison, of
Alnwick, published The Minstrel, by James Beattie, with sixteen designs by

* Jackson tells us ;^5 each was paid for them, out of which Clennell received £l.

HIS PUPILS.

Thurston, engraved on the wood by ClennelL* In 1809, he received the
gold medal of the Society of Arts for a large block he cut as the diploma
of the Highland Society. Benjamin West made the design ; Thurston drew
the central group on the wood, for which he received from Clennell ^^"15 ;
and the latter drew the rest of the figures himself on the wood, and cut in
the block; but, alas! after two months' work upon it, the block (made of
boxwood veneered on beech) split, and all had to be done over again. How-
ever, at last, a second block was finished, and for it Clennell received ;^"ioo.
In 1810-12, he engraved, from the pen and ink drawings of T. Stothard,
R.A., illustrations for Rogers' Poems. Jackson says, " They are executed with
the feeling of an artist ; " and Mr. Austin Dobson says, " Many of the com-
positions have all the lucid charm of antique gems, and, indeed, may actually
have been copies of them, since the 'Marriage of Cupid and Psyche,' page 140,
is plainly intended for the famous sardonyx in the Marlborough collection."
But Mr. Dobson does not allude to the designs being by Stothard. The credit
of the "composition," we think, is due on this occasion to that devotee of the
antique, ably seconded, no doubt, by Clennell. As an engraver, this was
almost Clennell's last work. We have seen how capable he had long shown
himself as a water-colourist and designer, and from this time he seems to have
devoted himself entirely to these branches of the art. He made many of the
drawings for Sir Walter Scott's Border Antiquities, and his pictures began to
attract the attention of the directors of the British Institution. He also
exhibited in the Society of Painters in Water-colours. In 18 14, the Earl of
Bridgewater employed him to paint a large picture of " The Allied Sovereigns
at the Guildhall Banquet." He had great difficulty in getting sketches of
those distinguished personages. In these days of photography, it can hardly
be believed how much time and anxiety were experienced in getting such
indispensable materials, which were necessary, before he could begin his
picture. Jackson says it was thought the anxiety had been too much for
him. He became insane before the picture was finished, and it had to be
completed by another hand. The same terrible malady soon after attacked
his wife also, and his unfortunate children were left unprovided for. This
led to the publication by subscription of an engraving of one of his pictures,
"The Decisive Charge of the Life Guards at Waterloo," and the sum raised,
after paying the engraver, was invested for their benefit. The copy sub-
scribed for, by the Editor's grandfather, now lies before us, and shows it to

* Mr. Chas. Hindle}', speaking of this book, says : — " It is enriched by the masterly engrav-
ings of Clennell, and nothing can be finer than some of the productions of this far-famed artist,"
and quotes Hugo's opinion, that it was " One of the most ambitious productions of the Alnwick
press." See the Life and Times 0/ James CatnacJi, page 12.

LIFE OF THOMAS BEWICK.

have been a spirited and ambitious pieture. Thus sadly closed his public
career as an artist. After a few years spent in a lunatic asylum he partially
recovered, and was permitted to return to the custody of a relation near

Newcastle. There he lived in a state of ^

harmless insanity, making little drawings,
woodcuts, and poetry, all showing, alas !
onlv too plainly, the wreck of his former
genius. He used occasionally to call on
his old master, and once asked for a block
to engrave. To humour him, Bewick gave
him a piece of wood, and left him to
choose his subject ; but when he returned
with it finished (convinced himself it was
one of his most successful productions) a
glance showed it was like the attempt of
a boy when first beginning to engrave.
About 1831, he had again to be placed in an asylum. Until the last he con-
tinued to amuse himself with drawing and making verses. He died in

CiAMULI.VG IN A DEBTOR'S PRISON.

(Lent by Robert Smith, Esq., M.D.)

Attributed to W. Harvey.

Februarj', 1S40, and

many Newcastle artists

attended his funeral. A

tablet was erected to his

memory in St. Andrew's

Church, Newcastle-on-

Tyne.

Jackson, in his His-

iiii'v :ij Wood Eiigravitig,

says :—

" ^^ost of Clcnnell's ruts
are distinguished by their free
and artist-like exe<ution, and
\yy their excellent effect ; but,
thuuu;h ;j^e nera I ly spirited, they
are sometimes rather coarstly
engraved. Fie was accustomed
to improve Thurston's designs
by occasionally heightening
the effect. To such alterations
Thurston at fir-^t objected ;
but, perceiving tliat the cuts
when engravLti were thus very
much improved, he alterwards

llilSiillt'liliifilliililllltoi;^^

.„.mii»lllllllil!l>l'l4|>'!lll!!lllllliin

(Lent by Robert Smilli, Esq., M.D.)

This and the two following blocks are Fables, we think, cut by
Ilarvcy, from designs by Bewick, and illustrative of his style
while siill strongly under Bewick's influence. They are very
beautiful, and, if we are not right in our conjecture, they may
easily have been cut by Bewick himself in his later manner.
These blocks were bought by the Rev. Thos. Hugo from .Miss
Bewick, through Mr. R. Robiiison, bookseller, of Newcastle.

allowed Clennell to increase the lights and deepen the shadows according to his own judgment.
.An adnurable specimen of Clennell's engraving is to be found in an octavo edition of Falconer's
SAi/iwieii, printed for Cadell and Davies, i8o8. It occurs as a vignette to the second canto, at

HIS PUPILS.

page 43, and the subject is a ship running before the wind in a gale. The motion of the waves,
and tlie gloomy appearance of the sl<y, are represented with admirable truth and feeling. The
dark shadow on the waters to the right gives wonderful effect to the white crest of the waves in
front, and the whole appearance of the cut is indicative of a gloom}' and tempestuous day, and of

an increasing storm. Perhaps no

ituin iiiiiii I Willi iiiin yiiiiiiii

nfliy|{||lllllllliiiiiiiiiiiiiniii;iiii|in

(Lent by Robert Smith, Esq., M.D.)

engraving of the same kind, either
on copper or wood, conveys the
idea of a storm at sea with greater
fidelity. The drawing was made
on the block by Thurston ; but
the spirit and effect, the lights
and shadows, apparent seething
of the waves, and the troubled
appearance of the sky, were in-
troduced by Clennell. All the
other cuts in this edition of the
Shipwreck are of his engraving."

Mr. Dobson says : —

" His distinguishing quali-
ties are breadth, spirit, and
rapidity of handling, rather than
finish or minuteness ; and the
former characteristics are usually
held to be superior to the latter.
His unfortunate story invests
them with an additional interest."

WILLIAM HARVEY,
Who rose to very great distinction as an artist, was born at Newcastle-upon-
T\'ne in 1796, and was the son of the keeper of the Baths in that town.

Having shown a great
fondness for drawing, he
was apprenticed, in 1810,
to Bewick, and succeeded
Isaac Nicliolson (who had
now estabHshed himself in
Newcastle on his own ac-
count) in the workshop.
Jackson tells us that W.
W. Temple and John
Armstrong were his fellow
apprentices. He and Tem-
ple were employed on the
Fables, which appeared in
1818, engraving many of
Robert Johnson's designs. Bewick says they " were eager to do their utmost
to forward me in the engraving business and in my struggles to get the book
ushered into the world." In many of the Fables his unmistakable style of

(Lent by Robert Smith, Esq., M.D.)

ciS

LIFE OF THOMAS BEWICK.

design and execution can be clearly traced. He became a great favourite with
his master, who presented him, in 1815, with the History of British Birds,
accompanied by the following very characteristic letter, and it is pleasant to
think their cordiality was never interrupted : —

"Gateshead, \st Jauunrv, 1S15.
Deak William, — I sent j'ou last night the History of British Birds, which I beg your
acceptance of as a New Year's gift, and also as a token of my respect. Don't trouble yourself
about thanking me for them ; but, instead of doing so, let those books put you in mind of the
duties )'ou have to perform through lite. Look at them (as long as they last) on every New
^'ear's Day, and at the same time resolve, with the help of the All-wise but unknowable God, tt)
conduct yourself on every occasion as becomes a good man. Be a good son, a good brother, and
(when the time comes) a good husband, a good father, and a good member of society. Peace of
mind wilt then follow you like a shadow ; and, when your mind grows rich in integrity, you will
fear the frowns of no man, and only smile at the plots and conspiracies which it is probable will
be laid against j-ou by envy, hatred, and malice. THOMAS BEWICK.

To William Harvey, Jun., Westgate."

In 1817, Harvey
went to London, and
studied drawing system-
atically under R. B.
Haydon, and anatomy
under Sir Chas. Bell.
His fellow pupils at
this time were Eastlake,
Lance, and Landseer. In
the Treatise on Wood En-
graving we are told : —

"While impro\'ing him-
self under Mr. Ilaydon, he
drew and engraved from a
picture by that eminent artist
his large cut of the ' Death of
Dentatus,' which was pub-
lished in 182 1. This cut is
about fifteen inches high by
about eleven inches and one-
quarter wide. It was engraved
on a block consisting of seven
different pieces, the joinings
of which are apparent in im-
pressions that have not been
subsequently touched with
Indian ink. As a large sub-
ject this is unquestional^ly one
of the most elaborately en-
graved woodcuts that has ever
appeared. It scarcely, however, can be considered a successful specimen of the art ; for, though the
execution in many parts be superior to anything of the kind, either of earlier or more recent
times, the cut, as a whole, is rather an attempt to rival copperplate engraving than a perfeu
specimen of engraving on wood, displaying tlie peculiar advantages and excellencies of the art
within its own legitimate bounds. More has been attempted than can be efficiently represented

Felis 0.

Thii

The Jaguar.

-Lin. Le Jaguar. — Buff. Hab., South America.

(From the Bewick Sale, 226.)

beautiful woodcut was designed by Harvey for the Tower
Menagerie, which appeared in 182S. It is more gr.aceful and
expressive in the attitude, and aims at more pictorial and life-
like effect than the jaguar, or, indeed, any of the foreign
animals in the History of Quadrupeds. Probably it was
studied from Nature, whereas many of the latter were drawn
from stuffed specimens. It was amongst the foxes and dogs
and small English animals he knew so well that Thomas
Bewick was thoroughly at home.

HIS PUPILS.

by means of wood engraving. The figure of Dentatus is indeed one of the finest specimens of
the art that has ever been executed, and the other figures in the foreground display no less
talent; but the rocks are of too uniform a tone, and some of the more distant figures appear
to sticl< to each other. These defects, however, result from the very nature of the art, not from
inability in the engraver, for all that wood engraving admits of he has effected."

During the year i8iS, Bewick addressed another characteristic letter* to

him as follows : —

"Newcastle iS Aiigt., iSiS.
Dr. William,

You may be assured it is only through necessity that I am obliged to trouble you so
soon again with another letter, and did you know the anxiety we are in, it would plead my
apology with ycu for so doing. Delay is terrible to us at this time, when we are so teased by our
tired out subscribers for the appearance of the long dela3'ed Book. The preface & Introduction
are done & the Table of contents are at press, in which the two Fables you have promised us to
do are named, with the page in which they must appear Si. next week the last J sheet will be put
to press if the arrival of 3'our 2 cuts enable us to do so. If not the press must again be at a stand.
We trust you will relieve us from our disagreeable suspense by sending the cuts in time In
your letters, you have taken no notice how you are in health, ily lasses told me they thou't you
looked very poorly and feared London was not agreeing with you. I fear you are m'erdoing the
matter, ii have undertaken to do more than you are able (without severe confinement) to get
through. Look at poor L. Clennel & never forget the Fable of ' Esop at play.' The Bow must
not always be bent & you may find this when it is too late. Your Bror. Charles told me last
week that you were very busy making drawings. I suppose the purpose they are for may be a
secret, as you have never named to me lately what j'OU were doing. But be this as it may, I
cannot help feeling interested in )'our welfare & success in whatever vou may be doing.

I am. Dr. \Viriiam, &c.

Thomas Bewick."

(From the Bewick Sale, 227.) By Harvey.

Harvey designed the
whole, and engraved
some, of the beautiful
vignettes and tailpieces
in Dr. Henderson's His-
tory of Wines, and soon
after (about 1824) he
entirely gave up engrav-
ing, and devoted himself
to designing woodcuts,
and he became not only
the foremost, but almost
the only artist of the
day of any note in that
department. Mr.Dobson
says : — "It seems certain

* This letter is in the possession of Mr. .1. C. Brooks, of Newcastle, and was laid by Mr.
W. N. Stiangeways before the Newcastle Society of Antiquaries, and has been printed in their
Procteduigs. Mr. Strangeways says : — " It is more than probable that the secret that Bewick
supposed Harvey had at this time was work at the great woodcut of the Death of Dentatus, which
Austin Dobson describes as ' that ambitious attempt to unite colour, expression, handling, light,
shadow, and heroic form.' "

LIFE OF THOMAS BEWICK.

that, about 1830-40, Harvey was the sole person to whom engravers could
apply for an original design with security ; " and, in the Art Union for 1830,
it is said, "The history of wood engraving for some years past is almost a
record of the works of his pencil." He, in fact, not only succeeded to, but far
excelled, the position held by Thurston towards the preceding generation of
wood engravers.

The designs for the woodcuts in the first and second series of Northcote's
Fables (1828, 1833), in the Tower JMenagerie (1822), and in the Gardens and
Menagerie of the Zoological Society (1831), were all drawn by him. He also
designed for engraving on copper the illustrations to an edition of Miss
Edgeworth's works (1832), Southey's edition of Cowper's works (1830), and an
edition of Dr. Lingard's
History of England. Be-
sides many minor works,
such as 2he Children in
the Wood (1S31), Blind
Beggar ofBcthnal Green
(1S32), Story without an
End, Pictorial Prayer
Book, Bible, and Shake-
speare, for Chas. Knight,
he drew the illustrations
for the famous three
volumes of Lane's edition
of the Thousand and One
Alights, in itself a monu-
ment of his industry, and
a Avork that may be re-
garded as a masterpiece
of inventive genius. The
fertility of his illustrative
invention was indeed ex-
traordinary, and has been
compared to that of Dore. Jackson assures us he was not only a distinguished
artist, but a kind son, an affectionate husband, a loving father, and in every
relation of life a most amiable man. Thus he fulfilled the earnest wishes of
his master, and, having profiled by his advice, lived an honourable life, and
reached the allotted age of three score years and ten. He survived until
1866, and when he died, the last, as well as one of the four greatest, of Bewick's
pupils passed away.

(Lent by Robert Smith, Esq., M.D.)

This block was bought by the Rev. Thos. Hugo from Miss
Bewick, through Mr. Robt. Robinson, bookseller, of New-
castle. It is clearly designed, as well as cut, by Harvey,
and is very illustrative of his own style, afterwards fully
developed in his designs for Lane's edition of the Tttmsatut
and One Niglits. By carefuUv comparing this block with
the woodcuts in Bewick's yEsop's Fahles, students may
discover which illustrations in that work are attributable to
H irvey.

HIS PUPILS.

lOI

JAMES REIVELEY

Was another pupil who engraved on wood in a most excellent style, and has
hitherto hardly received sufficient recognition. The compiler of the catalogue
for a sale of Davison's stock, which took place after the death of the latter, in
1858, speaks of Reiveley's work in the highest terms. Rciveley cut 28 of the
animals and 88 of the birds for the small paper-backed book on Natural
History issued by Davison (not his edition of Buffon) ; and these small cuts
show excellent workmanship.

HENRY HOLE.

Mr. i\ustin Dobson tells us his full name was Henry Fulke Plantagenet
Woolicombe Hole. He was the son of a captain in the Lancashire militia, and
was a fellow apprentice with Clennell and Willis. He engraved some of the
cuts in the British Birds. He practised as an engraver at Liverpool, and
worked on the cuts in M'Creery's Press (1803), and in the Poems by Felicia
Dorothea Brown (1S03), afterwards Mrs. Hemans. He received much praise
for a vignette to Shepherd's Poggio, but gave up the practice of wood engrav-
ing on succeeding to a large estate.

EDWARD WILLIS
Was a cousin of George Stephenson, the great engineer. He went to live in
London, but soon abandoned his art. He and Stephenson were both the
grandsons of Robert Carr, one of the old dyers in Ovingham, figured in a
vignette in the second volume of the Birds, carrying a tub between them.
Carr, Miss Bewick tells us, was a man remarkable for his simplicity, industry,
and integrity.

W. W. TEMPLE
Worked with Harvey and Robert E. Bewick on Bewick's Fables, 18 18.
Bewick says of them, in his Memoirs, they "were eager to do their utmost to
forward me in the engraving business, and in my struggles to get the book
ushered into the world;" but as soon as Temple was free from his apprentice-
ship he became a draper, and for years he occupied the shop in Grey Street,
Newcastle-upon-Tyne, where the North- Eastern Bank now stands.

HENRY WHITE.

Mr. Dobson considers he was an exceedingly clever workman. He engraved
some of the best of the cuts in Yarrell's standard work on Fishes; a book
which always commands a high price^ He also engraved Thurston's designs
for an edition of Burns, and many of Cruikshanks' squibs for Hone.

LIFE OF THOMAS BEWICK.

EBENEZER LANDELLS
Survived until i860. He worked mucli for Punch and The Illustrated London
News, and, Mr. Dobson says, succeeded admirably in rendering Landseer's
animals.

JOHN JACKSON,
So often mentioned in these pages, was born at Ovingham in iSqi. Redgrave
says he was first a pupil of Armstrong, and afterwards of Bewick. He had
some disagreement with the

latter, which led to him leav-
ing before the expiration of
his indentures, which it is said
Bewick cancelled, by cutting
his own and his son's name
from them. Be this as it may^
Jackson does not withhold the
very highest praise from his
master in his Treatise on Wood
Engraving (where he gis'es a
portrait.engravedby himself of
T.Bewick), pp. 584-5-6, edition
1839, although he claims the credit he considered due for Johnson, Nesbit,
Clennell, and Harvey, and, notwithstanding a good deal of angry controversy
on the subject, his testimony
on this point has never been
materially shaken.

After lea\'ing Bewick,
Jackson worked in London,
under Harvey, engraving
many of his designs. Un-
like Ifarvey, he never aban-
doned wood engraving; and
while one was considered the
best designer, the other was
deemed the best engraver in
London at that time (1830-
40) ; a time so prolific under
the stimulus of Charles
Knight's enterprise, of illustrated serial books and magazines. Jackson
carried out on the wood an immense quantity of Harvey's best designs for

(In the Editor's collection..)

A fine woodcut, probably by Anderson. Formerly
in the Hugo collection.

(Lent hy Roljcit Smith, t.M|., Al.lJ.)

Frum Bloomfield's Farmer's Boy, page 6, edition iSoo.
( >n the title page of thii rare edition it is stated,
" Witli Wood Engravings by Anderson."

HIS PUPILS.

Northcote's Fables, Lane's Thousand and One Nights, and the Penny Mag-
azine. But his name is perhaps most generally associated with the Treatise

on Wood Engraving, so often quoted
in these pages. It appeared in 183Q
(during his Hfetime) as J^ackson^s
Treatise, etc. This work seems (as in
Bewick's case in the History of Quad-
rupeds) to have been conceived by
Jackson, the subject matter thought
over, the facts collected, and the wood
blocks prepared by him. When, find-
ing his literary capacity at fault, he
communicated the idea to IVIr. W. A.
Chatto (also a Northumbrian), and
associated him (as Bewick did Beilby)
with himself in the undertaking, so far as writing the letterpress was concerned,
although it appears the book, when finished, was Jackson's book, published in his

name at his sole risk, and not even
a partnership affair, as in the case
of Beilby and Bewick. We can-
not, therefore, adopt the view
tacitly implied by Mr. Thomson,
who generally speaks of Cliatto's
Treatise on Wood Engraving,
and openly adopted by Mr.
Dobson, that Jackson did not
deserve the credit he received for
it. The latter says : —

(Lent by Robert Smith, Esq., M.D.)

Bj' Anderson. From Bloomfield's Farmers

Boy, page 49, edition iSoo.

(Lent by Robert Smith, Esq., JLD.)

An illustration formerly in the Rev. Thos. Hugo's
collection, and described by him as bein? from " ' Tlie
Fanner s Boy : \ Rural Poem. By Robert Bloom-
field. London : Printed for Vernor and Hood,

" His [Jackson's] name has, how-
ever, obtained more prominence than it
actually deserves from its connection
with a book to which we have fre-
quently made reference, and to which no
student of wood engraving can fail to
be indebted, namely', the treatise on that
art hitherto currently known as Jackson
ami Cliatto. When this volume first ap-
peared, in 1839, an angry controversy
arose as to the relative claims of the
engraver and his colleague to the
honours of authorship. We do not pro-
pose to stir the ashes of this ancient
dispute ; still, it may be stated that Mr. Chatto appears to have had but scant justice done to him
in the matter, for, with a few reservations, the composition and preparation of the book were

Poultry, by T. Bensley, Bolt Court, Fleet Street.
MDCCC' 4to. Pp. xvi., 102. With woodcuts attri-
buted to Thomas Bewick ; but they are not in his
style. I believe them to be by Anderson." Hugo
must here allude to the 1830 edition, which has
always been attributed to Bewick by the booksellers,
as Anderson's name was suppressed on the title page ;
but, as we have seen, the 1800 edition does give
Anderson as the engraver.

104

LIFE OF THOMAS BEWICK.

entirely his. Indeed, Jackson was in no sense ' literary,' and could not possibly have undertaken
it ; and, although he provided and paid for the illustrations, the attributing of them en masse to
him personally is manifestly an error, as the major part of the fac -similes of old woodcuts were
the work of the late Mr. Fairholt,

and were chiefly engraved hj a ^ly.T&A'^tP?^*^ -^ ==i> ?'■''' \

j'oung pupil of Jackson's named
Stephen Flimbnult. Others were
executed by J. \V. Whymper. Of
the blocks actually from the graver
of Jackson himself the best are the
'Partridge' and the 'Woodcock,'
after Bewick, which are favourable
specimens of his powers. Jackson's
true position with regard to the
whole book seems to have been
rather that of projector than of a
author ; and it is satisfactory to
know that in the third edition,
which has been recently issued, due
prominence has been given on the
title page to the hitherto insuffi-
ciently recognised labours of Mr.
Chatto."

U/,

(Lent by Robert Smith, Esq., M.D.)
This and the four following cuts are signed by Nicholson.

If we refer to the first edition itself (1S30) called Jacisotis Treatise, etc.,
the matter seems to be put in a reasonable light by the parties themselves
concerned, and as if they
were generously anxious to
give all the credit necessary
and due to each other, with-
out the slightest appearance
of jealousy or misunderstand-
ing. Each write and sign a
preface. Mr. Chatto con-
cludes his — a very learned
and interesting one, which
incidentally assumes he is
the writer — by saying: — (Lent by Robert Smith, Esq., M.D.)

" It is but justice to Mr. Jackson to add that the work was commenced by him at his sole
risk ; that most of the subjects are of his selection ; and that nearly all of them were engraved, and
that a great part of the work was written, before he thought of applying to a publisher. The credit
of commencing tlie work and of illustrating it so profusely, regardless of expense, is unquestion-
ably due to him. W. A. Chatto.
London, 5//; Decemler^ 1838."

Mr. Jackson says : —

" I feel it my duty to submit to the public a few remarks introductory to the Preface which
bears the signature of ^Ir. Chatto.

From the first occasion on which my attention was directed to the subject to the present
time, I have had frequent occasion to regret that the early history and practice of the art, were not
to be found in any book in the English language. In the most expensive works of this descrip-

HIS PUPILS.

lo;

(Lent by Robert Smith, Esq., M.D.)

tion the process itself is not even correctly described, so that the reader — supposing him to be
unacquainted with the subject — is obliged to follow the author in comparative darkness. Both
with a view to amuse and improve myself as a wood engraver, I had long been in the habit of study-
ing such productions of the old masters as came within my reach, and could not help noting the
simple mistakes that many authors made in consequence of their knowing nothing of the practice.
The farther I prosecuted the inquiry the more interesting it became ; every additional piece of

information strengthening my first
opinion, that, ' if the practice, as
well as the history, of wood engrav-
ing, were better understood ' we
should not have so many erroneous
statements respecting both the his-
tory and capabilities of the art. At
length I determined upon engrav-
ing in my leisure hours a fac-simile
of an3'thing I thought worth pre-
serving For some time I con-
tinued to pursue this course, read-
ing such English authors as have
written on the origin and early his-
tory of wood engraving, and making
memoranda, without proposing to
myself any particular plan. It was
not until I had proceeded thus far
that I stopped to consider whether
the information I had gleaned could not be applied to some specific purpose. Jly plan, at this time,
was to give a short introductory history to precede the practice of the art, which I proposed should
form the principal feature in the work. At tliis period I was fortunate in procuring the able assist-
ance of i\Ir. ^V. A. Chatto, with whom I have examined every work that called for the exercise of
practical knowledge. This naturally anticipated much that had been reserved for the practice,
and has in some degree extended the historical portion beyond what I had originally con-
templated, although, I trust, the reader will have no occasion to regret such a deviation from the
original plan, or that it has not been written by myself. The number and variety of the subjects
it has been found necessary to introduce rendered it a task of some difficulty to preserve the
characteristics of each individual master, \-arying as they do in the style of execution. It only
remains for me to add that, although I had the hardihood to venture upon such an undertaking,
it was not without a hope that the history of the art, with an account of the practice, illustrated
with numerous wood engravings, would be looked upon with indulgence from one who only
professed to give a fac-simile of whatever appeared worthy of notice with ojsinions founded on a
practical knowledge of the art. JOHN Jackso.v.

London, I'^th December, 183S."

No spirit of rivalry breathes in
these remarks ; nothing but a simple
and earnest sense of mutual co-opera-
tion, and it seems a pity that such a
fine work should have become the
theme of angry controversy rather
than remain, as it deserves, a monu-
ment, not only of the industry of
Jackson and the learning and research
of Chatto, but also a beautiful work of
art and a most valuable book of reference to all hereafter interested in wood
engraving. . We have thought it due to Jackson's memory to give those

(Lent by Robert Smith, Esq., Jl.D.)

io6

LIFE OF THOMAS BEWICK.

unacquainted with the Treatise these extracts, and those well acquainted with
that work can pass them over. It needs only to be added, that Jackson died in
London, 27th March, 1848, at the comparatively early age of forty-seven.

A. ANDERSON
Imitated his master's touch so admirably that his work has often been mistaken
for Thomas Bewick's, He went to America, and very unjustifiably pirated the
whole of the History of Quadncpeds in his master's lifetime, cutting exact
copies soon after they were brought out in England, and before the copyright
had expired.* He illustrated the edition of Junius' Letters, often now attri-
buted by the booksellers to Bewick. A Bewick collector told us he once saw
the contemporary advertisement of that edition, when it first came out, in
which it was distinctly announced as with woodcuts by Anderson.

ISAAC NICHOLSON,
Redgrave tells us, preceded Harvey in the workshop. A fellow-apprentice
speaks of him as " one of Bewick's cleverest scholars, had his ambition
corresponded with his taste." He established himself as a wood-engraver
in Newcastle, and did much work in his master's style, and, Mr. Thomson
says, "achieved some dis-
tinction in his profession."
He took several portraits
of his master. A fine
line engraving, of one of
them, was executed in 1816,
by T. Ranson. In 1820,
Charlton Nesbit engraved
from another (taken at
Chillingham) a woodcutf
for the Select Fables ; and
quite lately the great etcher,
Leopold Flameng, has taken
the other Nicholson portrait (a water-colour in the possession of Mr. T. E.
Crawhall) for his theme. Bewick cannot, therefore, have been averse to sitting
to Nicholson, and expresses pleasure in his letter to Miss Baileyt at the thought

* Hugo, in his Bewick Collector, p.i,2;e 24, says : "An edition in 8vo. was printed at New
Yorl< in 1804, under the title of \i General History of Quadrupeds : the P'igures Engraved on
Wood ; Chiefly Copied from the Original of T. BewiLk. By A. Anderson. 1st American
Edition. With an Appendix containing some American Animals not hitherto described. New
York, &c., &c.' Some of the cuts in this volume are truly wonderful copies of the originals.
The book may be seen in the British Museum."

t Nicholson was taking a portrait of Bewick's friend, Mr. Bailey, at the same time.

J See page 64, preceding.

HIS PUPILS.

of meeting him, although, in i8::6, he writes in very severe though perfectly
justifiable terms, to reproach " Mr. Charnley, whom I had fondly considered
as my friend," for having got some one to copy one of his designs to illustrate
Robert Roxby's Fishcrh Garhmd, and adds, "I suppose Mr. Nicholson was
the artist employed in this unfriendly business ; if so, I shall be obliged to
convince him of the impropriety of his conduct." Nicholson died in 184S.

JOHN THURSTON,
Though not a pupil of Bewick's, seems to require some notice here, as he was
much connected with the Newcastle engravers, furnishing six designs for
Bunyan's Pilgrim s Progress (printed in Taunton, by J. Poole, 1806), which
were cut on wood by Thomas Bewick ; and the Treatise on Wood Engraving
tells us he was at that time "the principal and indeed only artist of any
.^ talent in London

^'Tr'-^i:

who made drawings
on the block for
wood engravers."
He made designs
that were engraved
by Nesbit, Clennell,
Branston, and Hole ;
and two very beau-
tiful woodcuts are
given here, which
came from the
Bewick workshop,

(From the Bewick Sale, 228.) Design attributed to Tliurston, and which we think

and engraved probably by T. Bewick. are from designs by

Thurston. He was a native of Scarborough, -'and originally a copperplate
engraver. He engraved, under the late Mr. James Heath, parts of the two
celebrated plates of the ' Death of Major Peirson ' and the ' Dead Soldier.' He
was one of the best designers on wood of his time. He drew very beautifully,
but his designs, Jackson tells us, are too frequently deficient in natural character
and feeling. He died in 1821.

Bewick tells us he had often in his lonely walks debated with himself
whether the plan he had once formed of working alone without apprentices, or
the plan he adopted, would have been the best. Each, he thinks, would have
had advantages and disadvantages. "I should not have experienced the envy
and ingratitude of some of my pupils, neither should I, on the contrary, have
felt the pride and the pleasure I derived from so many of them having received

loS

LIFE OF THOMAS BEWICK.

medals or premiums from the Society for the Encouragement of Arts, and
taken the lead as engravers on wood in the Metropolis. Notwithstanding this
pride and this pleasure I am inclined to think I should have had — balancing
the good against the bad — more pleasure in working alone for myself."

But here we think we may venture to differ from him, and to assert without
fear of contradiction, that he led a happier and a larger life in fulfilling the
social and generous instincts of his nature, and surrounding hmiself with a band
of comrades to whom he handed on the torchlight of his genius, which, though
burning with a somewhat paler flame, has yet been worthily borne aloft by them
to the delight and enlightenment of succeeding generations.

' -ff'.i^^^

(From the Bewick Sale, 229.) Desitjn attributed to Tliurston,
and engraved probably by T. Bewick.

The following hitherto unpublished letter may seem fitly to conclude this
account of the pupils. It is in the possession of the Editor, and in the hand-
writing of Thomas Bewick, and was addressed to J. H. Bigge, Esq., of Lindon,
who inserted it as an autograph in a copy of the iSiS edition oi AIsop' s Fables.
Mr. Bigge was a member of the firm of Sir Matthew Ridley & Co., bankers, in
Newcastle, of which Mr. William Boyd, the editor's grandfather, was another
partner.

J. H. Bigge, Esq. "N.C., wth July, 1823.

Sn^, — We are this morning favor'd with your letter of yesterday's date — the main
purport of which is to request us to cancel the indenture. If this were done, and the young man
were offered to us the next day, we would not make any alteration in our terms, unless a sufficient
premium were paid us as an apjirentice fee ; but as he is perfectly satisfied, we can see no reason
to comply with your request, and as we wish the young man well, we are quite at a loss to know
what his friends have in view for him, or what they may please to do towards the .advancement of
his prosperity in life.

We are. Sir, with the greatest respect.

Your obliged and obedient,

Thomas Beuick & Sox."

Part II,

BEWICK GLEAXINGS.

(From the Bewick Sale, i )

BEWICK GLEAXIXGS.

{\ ^ jiw the Bewick Sale, 2, 3,4.)

BEWICK GLEAXINGS.

(From the Bewick Sale, 5, 6, 7.)

BEWICK GLEANINGS.

-#&^&^^

(From the Bewick Sale, 8, 9, 10.)

BEWICK GLEAXIXGS.

wM/M. ^^^'^^ /^••:yt'i'tU^

M^:,

-,,.7j*.-..;.

«<»^„^

"•Mi?*'
\

if^%-: »-*. -

litsa: ; s

(Frorr. the Eewitk Sale, TI, 12, 13.)

BEWICK GLEAXIIVGS.

(From the Bewick Sale, 14, 15, 16.)

BEWICK GLEANINGS.

(Fram the Bewick Sale, 17, iS, 19.)

BEWICK GLEANIAGS.

**»i>«aie-^B^"iiii/mniiii_

-JN

(From the Bewick Sale, 20, 21, 22 '

BEWICK GLEANINGS.

m m ^ 'A. ^--.-:. L-L._5sii\\\\\\\V''^

(From the Bewick Sale, 13, 24, 25.)

BEWICK GLEANINGS.

_^.^

—,;„;„„—> ., sill'"'

(From the Bewick Sale, 26, 27 28.)

BEWICK GLEANINGS.

1 1

(From the Bewick Sale. 29, 30, 31,)

BEWICK GLEAXIXGS.

B^.u

Ji! T ^-S>-5* J^-v ^5tfe,

(From the Bewick Sale, 3:, 33, 34.)

BEWICK GLEANINGS.

\-\

(From the Bewick Sale, 35, 36, 37.)

BEWICK GLEANINGS.

{From the Bewick Sale, 38, 39, 40.)

BEWICK G LEA XING S.

.|l«'i..innim....— ™»...«<,'""" -'iMitiMiimililliriii. nimill

^^"O'-'^^^^^'*^

(From the Bewick Sale, 41, 42, 43.)

BEWICK GLEAXIXGS.

^*5^P*|w«"'«;g^^^^'^l

(From the Bewick Sale, 4-I-, 45, 46.)

BEWICK GLEANINGS.

if^^'^lT-

"-JIS^

^r-^f.faj^' /.^C45 ^^^

(From the Bewick Sale, 47. +S, 49 )

BEWICK GLEANINGS.

■?^i^SJ!;ji.iili

(From the Bewick Sale, 50, 51. 52.)

BEWICK GLEANINGS.

l(iii'iiifl^^^!>^*-'^^ ' ■-'-*''

(From the Bewick Sale, 53, 54, 55.)

BEWICK GLEANINGS.

(From the Bewick Sale, 55, 57, 58.)

BEWICK GLEANINGS.

II,,; jliB.tu - — •

C1^

(From the Bewlcic Sale, 59, 60, 61.)

BEWICK GLEANINGS.

^^i^^^^^^^^3^'f9^0Sii ^^

(From the Bewick Sale, 62, 63. 64.)

BEWICK GLEANINGS.

^^J-^!^^

(From the Bewick Sale, 65. 66, 67.)

-4

BEWICK GLEANINGS.

^'Xff^'^''^^^^.^,,^,.,;^^

immulil fii,,,MiiiiW ~

(From the Bewick Sale, 6S, 69, 70.)

BEWICK GLEANINGS.

(From the Bewick Sale, 71, 72, 73 )

BE I i 'ICK GLEANING S.

(From the Bewick Sale, 74, 75, 76.)

BEWICK GLEANINGS.

^ii"

IV'

(From the Bewick Sale, 77, 78, 79,)

BEWICK GLEANINGS.

"""''^^^£^

(From the Bewick Sale, So, Si, 82.)

BEWICK GLEANINGS.

^^^ -S\-v%

(From the Bewick Sale, 83. S4. 85.)

BEWICK GLEANINGS.

"K. V

-iitiL-ii'M^.iiiiii:;..;

(From the Bewick Sale, 86, 87, 88.)

BEWICK GLEANINGS.

^ I

-""^ '"'ofcc^

Y ,

'.^-

;

] ' 1

'iri»?i;.; r.-.^ "

(From the Bewick Sale, 89, 90, 91.)

BEWICK GLEANINGS.

(From the Bewick Sale. 92, 93. 9;.)

BEWICK GLEANINGS.

V #^^^^"^'*'***"^^^

(From the Bewick Sale, 95. 96, 97.)

BEWICK GLEANINGS.

^'^■6

y^'

'•%bi^ v>

gm^m,

ff^W '""^

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(From the Bewick Sale. 9S, 99. 100.)

BEWICK GLEAXIXGS.

(From the Bewkk Sale, loi, 102, 103.)

BEWICK GLEANINGS.

"^S? 4fe

*%*%

(From the Bewick Sale, 104, 105, 106. I07.)

BEWICK GLEANINGS.

""'f-rilllll!!::''. .- r. — ..-..".(ll'"""" '

(From the Bewick Sale, loS, 109, no, in.)

BEWICK GLEANINGS.

«3i==ir-t=;,";,i||||llllllll(illiii"ii"""'"

(From the Bewick Sale, 1 12, 113, 114, 115.)

BEWICK GLEAXIXGS.

3')

: ..t^.^-^'^^^^^v^

(From the Bewick Sale, ii6, 117, riS, 119

BEWICK GLEAXIXGS.

-«£:-

!>^ ~'fv^f~':

i ''l^2l.^^ii^M^ltM/''Z^'f^^'':^':r-^^

(From the Bewick Sale, 120, 121, 122.)

BEWICK GLEANINGS.

i; "-^

'^-x-^^V. 5>^ ^ %v

l-^.

.<*^?fe-

(From the Bewick Sale, 123, 124, 125)

BEWICK GLEANINGS.

■:^'£^

miM^

(From the Bewick Sale, 126, 127, 128.)

BEWICK GLEANINGS.

(From the Bewick Sale, 129, 130, 131.)

BEWICK GLEANINGS.

(From the Bewick Sale, 132, 133, 134.)

BEWICK GLEANINGS.

4®^^,-*'^*^;}::;*^

*_■'

(From the Eewick Sale, 135, 136, 137.)

BE WICK G LEAXIXG S.

-> , *s.

u>) •'';

\ .ji-^^

S£.

(From the Bewick Sale, 13S, 139, 140.)

BEWICK GLEAXIXGS.

flK'^-?'^^^' -^

^^«Sr:g^-;^fe^^,^^"^-.

", , (^ . -'11 V-*-is j^i-'^

(From the Bewick Sale, 141, 1+2, 143)

BEWICK GLEANINGS.

(From the Eenick Sale, 144, 145. 14^.)

BEWICK GLEANINGS.

(From the Bewick Sale, 147, i^8, 149 )

BEWICK GLEANINGS.

(From the Bewick Sale, 150, 151, 152 )

BEWICK GLEANINGS.

J" *-

U Jfei^ ^^^

(From thtr Bewick Sale, 153, 154, 155.)

BEWICK GLEANINGS.

^'^^'il

.^■-,.„---Kf;i

(From the Bewick Sale, 156, 157, 1 58.)

BEWICK GLEANINGS.

(From the Bewick Sale, 159, 160, 161.)

BEWICK GLEAXIXGS.

^Mli&^

ffe\^ ^

(From the Bewick Sale, 162, 163, if*4-)

BEWICK GLEAXIXGS.

4 '-^

(From the Bewick Sale, 165, 166, 167,)

BEWICK GLEANINGS.

,. mm^-

- ___ 4^?^^-"i='^v

(From the Bewick Sale, 168, 165, 170.)

BEWICK GLEANINGS.

0. /'(.^ <:-,'■

3^ = -3a^ « xV^j:^eG£:3JE£:-

BEWICK GLEANINGS.

(From the Bewick Sjle, 174, 175, 176.)

BEWICK GLEANINGS.

(From the Bewick Sale, 177, 178, 179.)

BEWICK (iLEAX/XGS.

s^^a*p\^ "^^"Sn

^^^-fy^'

-^SSJi^^iJi^- (5„£fe'»^f«^

(From the Beuiik Sale, iSo, iSi, i?2.)

BE WICK G LEANING S.

.V*-. -'E*^^ -r-

(From the Bewick Sale, 1S3, 1S4, 185.)

BEWICK GLEANINGS.

(From the Bewick Sale, i86, 187, 188.)

BEWICK GLEANINGS.

(From the Bewick Sale, 1S9, 190, 191.)

BEWICK GLEANINGS.

-i^^S#*-lSfeMl%E3>«»^-^=^^

(From the Bewick Sale, 192, 193. 19+)

BEWICK GLEANINGS.

J'*^*!^^

.-3^ .,„. -.^.„.

(From the Cewick Sale, 195, 196, 197.)

•" ?

_»awr*

sg%

_.^^3?i

'kf>^'..^.LMMMrm^'^ ^^\-€

(From the Bewick S.ilc, 198, 199 2C0.)

BEWICK GLEANINGS.

('1

^^^

,"^^2^3^"^

(From the Bewick Sals, 201, Z02, 203.)

BEWICK GLEANINGS.

(From the Bewick Sale, 204, 205.)

si=?)

BEWICK GLEANINGS

BEWICK GLEANINGS.

Rev. C. Gbegson, Vicar of Ovingham.

(From the Bewick Sale, 288, 209.)

BEWICK GLEANINGS.

(From the Bewick Sale, zio, 21 1.)

BEWICK GLEANINGS.

(From the Bewick Sale, 2iz, 213, 214.)

BEWICK GLEANINGS. 73

NOTES ON THE "BEWICK SALE" WOOD

BLOCKS.

[Memo. — The edition of the History of Quadrupeds referred to in these Notes was published

in 1824.]

No. I. A Waggon and Horses. — This very fine block is the largest of the
series, and is cut by Thomas Bewick's own hand. Mr. Thomson (page 169)
mentions it thus : —

"About 1799, Bewick engraved a bloclc, 7 by i^ inches, which was never used, of a four-
horse waggon descending a hill, which Atkinson mentions was done for a c.irrier in Leeds, who
objected to the price when it was sent to him, and returned it. In its passage to or from Leeds
the block was injured, which irritated Bewick considerably."

On referring to Mr. Atkinson's Memoir we find he says it was engraved in
1818, and speaks of it as a «'.v-horse waggon (to the last statement Mr. Hugo
puts a " ? "), and the latter catalogues a cut from it in his Collector, page 464,
as a "/b«;--horse waggon descending a hill, with a fifth horse carrying a driver's
wallet," given to him by Mr. John Bell, who had lent it to Mr. Atkinson. As
we have seen in the account of the Chillingham Bull, Mr. Bell had an inac-
curate memory, and contradicted his own written statements ; and as Mr.
Atkinson's story was derived from him, probably this accounts for the discrep-
ancies as to the date and number of horses, as there can be no doubt this is the
identical block alluded to. To the Editor it appears, rather, as if the waggoner
was endeavouring to steady his team, fearing the effect that the appearance of
a riderless horse crossing their path might have upon them.

No. 2. The Common Cart-Horse. — The well-executed httle background
in this cut is entirely different to that at page 13, History of Quadrupeds.

No. 3. The Improved Cart-Horse. — This is an almost exact transcript,
save that it is taken the reverse way, of that at page 14, History of Quadrupeds,
including the interesting little scene in the background of the passage of a ford
by a horse and cart, and a gentleman on horseback with a lady on a pillion
about to enter it. Bewick tells us that the original horse from which the
drawing was made was in the possession of George Baker, Esq.. of Elemore, in
the County of Durham.

No. 4. Huntsman and Hounds. — The hounds are running in full crv,
the huntsman galloping hard behind them, and the scenery such as may be
seen any day in the North of England. The same design may be found at
page 323, British Birds, Vol. I.; but the composition of this woodcut is better,
and in point of execution, also, is exquisitely delicate.

No. 5. The I.mpro\"ed Holstein, or Dutch Breed. {Bos Taurus. — Lin.
Le Taureau. — Buff.) — See page 30, History of Quadrupeds. This is taken the
reverse way. It is well cut. The men with scythes, and other details in the
background, are closely followed.

No. 6. The LoNG-HoR\Kn, or Lancashire Breed — A very fine woodcut.
The design is the same as at page 33, History of Quadrupeds, but the animal
is looking the opposite way; also, page 17, Cabinet Natural History. ^ Note
the moun^tains in the background, indicating the country from which this race
has sprung.

No. 7. Vignette. — I think an original, unpublished design.

No. 8. The Brazilian Porcupine. [Histrix Prehensilis. — Lin. Hab.,
Mexico and Brazil.) — This block, reversed from page 485, History of Quadru-
peds, is very life-like; but I think it, as well as Nos. 9, 11, and 12, are
unfinished.

No. 9. The Hare. {Lepus timidus. — Lin. Le Licvre. — Bufi". Hab.,
general in Europe). — The same design as at page 369, History of Quadrupeds.

No. ID. The Rook and a Frog. — See page 173, History of Quadrupeds,
where a similar vignette may be found at the end of the notice of the
Rabiroussa. Some of the details are omitted ; but the bird in this vignette
is more knowing and expressive.

No. II. The Lancashire Ox. — Taken the reverse way to that at page 35,
History of Quadrupeds. Though characteristic, and the background nicely
done, it is harder.

No. 12. The Mastiff. (Canis Molossus. — Lin. Le Dogue. — Buff.) —
This very fine animal looks the opposite way, and has a different background
to that at page 336, History of Quadrupeds. A dog-fight, attended by
youngsters, is in lull progress.

No. 13. The Tailpiece to the \Vhixch.-\t (at page 276, British Birds) is so
e.xactly, line for line, the same as this woodcut that it is difficult, after the most
careful comparison, not to believe they are from the same block. As in the
different editions of the Birds the tailpieces vary, this block may quite possibly
have been used in some of them.

No. 14. The Hunter. — See page 8, History of Quadrupeds. The e.xquisite
little background that may there be found, is here entirely omitted.

No. 15. The Arabian Horse. — This is the same design, and taken
looking the same way, as that at page 4, History of Quadrupeds; but in this
also the background is omitted.

No. 16. The Cart le.ading Timber. — How lifelike is the expression in the
poor old horse, with his bent knees, raised head, and lowered ears, prepared to
receive the blow from the old man's uplifted stick, as he viciously holds him
tight down by the bit, grasping the rein in his other hand ; and the figure of
the old man is a perfect little picture in itself. One would know Thomas
Wood with his unmistakable clothes anywhere. The timber is being led into
Newcastle by the Moor. The "poke" on the top looks like a woolpack, the
produce perhaps of some country squire's estate in Northumberland, and Saint
Nicholas' steeple is seen in the distance. No difference, e-xcepting that this
woodcut is a little longer, can be easily traced between it and the one at page
261, British Birds, Vol. I.

BEWICK GLEANINGS.

No. 17. The Ass. {Eqiius Asinus. — Lin. IJAnc. — Buff.) — This block
is taken the reverse way to that at page 19, Hisiivy of Quadrupeds, and the
group of the old man on an ass with panniers, his dog, and other figures in
the background, is omitted ; but the trees and railings which are substituted
are delicately worked up, and the general effect of the woodcut is good. See
also page 6, Bewick's Cabinet of Natural History, 1809.

No. 18. The Mule. — The animal is the same design, looking the reverse
way, as at page 16, Historv of Quadrupeds, but the Ijackground of a river
bank, with mules of burden crossing a ford, is entirely different.

No. 19. Vignette. This recalls slightly the one at page 105, History of
Quadrupeds, where a lamb is the victim. But this is a much more beautiful
little picture. The eagle is finer, the rabbit well drawn, and the background
quite differently treated.

No. 20. The Chamois Goat. {Capra Rupicapra. — Lin. Ysarus ou
&;-;■«.— Buff. Hab., the Alps.) — See page 81, History of Quadrupeds. The
position of the woodcuts is reversed, and in this one a little Chamois in the
background is omitted.

No. 21. The Camei.eopard. {Cervus Camclopardalis. — Lin. La Giraffe.
— Buff. Hab., deserts of Africa.) — See page 118, History of Quadrupeds. This
is not highly finished. It is taken the reverse way, and one cameleopard and
two men are omitted from the distant background.

No. 22. Vignette. — I think an original design.

No. 23. The Ibex. {Capra Ibex. — Lin. Le Bouquetin. — Buff. Hab.,
the Higher Alps and Crete.) — This woodcut follows that at page So, History of
Quadrupeds.

No. 24. The Ar.\bian' Camel, or Dromedary. ( Camelus Dromcdarius.
— Lin. Lc Dromedairc. — Buff. Hab., Northern Africa.) — This woodcut is
from a duplicate block similar to that at page 154, History of Quadrupeds, but
taken the reverse way, and with some notable additions, such as the back-
ground of hills, which throws up the procession of dromedaries in the distance,
and the fine group of palm trees, which gives a characteristic touch to the
whole scene and brings the desert in a vivid little picture before us. A happy
afterthought of the artist, confirming the idea that another set of blocks were
in preparation. This design has a peculiar interest for the Bewick student,
being the first he drew for the History, and the fact that he was engaged upon
it when he heard of the death of his father, Nov. 15, 1785.

No. 25. Vignette. — A ship in full sail.

No. 26. The Roe-Buck. — {Cervus Capreolus. — Lin. La Chevreuil.—
Buff. Hab., Highlands of Scotland, North America.) — This woodcut closely
resembles that at page 146, History of Quadrupeds.

No. 27. The American Elk. — (Hab., Canada.) — Bewick says it differs
very much from the Moose-deer Elk. Though this is a good woodcut it is not
nearly so beautiful as that at page 125, History of Quadrupeds, which is really
one of the finest of Thomas Bewick's animals.

No. 28. Vignette. — Boy and wheelbarrow.

7t>

BEWICK GLEANINGS.

No. 2q. The Musk. — [Mosclms Moschiferiis. — Lin. Lc Muse. — Buff.
Hab.. Thibet and China.)— This blocii is well cut, and closely resembles that at
page 11^, History of Qnadnipcds^ but the animal looks the other wa}'.

No. 30. The Nvi.-Ghau. (Hab., India.) — A little smaller than that at
page 112, History of Quadrupeds, and is taken the reverse way. This wood-
cut is lifelike, and seems well executed. Palm trees are introduced to indicate
India, not found in the first edition of it.

No. 3 1 . Tailpiece to the Ring Dotterel (page 381, British Birds, Vol. II.)
— It is impossible to distinguish the slightest difference between the two wood-
cuts. They must be from the same hand, if not, as I think probable, off the
same block.

No. 32. The Wood Goat. (Hab., Cape of Good Hope.) — Rather smaller
than that at page 92, History of Quadrupeds, and taken the reverse way. Very
nicely cut.

No. 33. The A.xis, or Ganges St.ag. (Z'^-J.v«.— Buff. Hab., the plains
of India near the Ganges.) — This pretty woodcut is almost the same as that at
page 141, History of Quadrupeds.

No. 34. Vignette. — I think an original design.

No. 35. I. — The Chevrotai.v. (Buff. Hab., Guinea.) 2. — The Spotted
Meminna. (Hab., Ceylon.) — The design for these tiny animals is the same as at
page 109, History of Quadrupeds, and is well executed.

No. 36. The Stag, or Red-Dker. {Cervus Eleplias. — Lin. Le Cerf. —
Buff. Hab., Highlands of the British Isles.) — In this woodcut the stag is
looking the opposite way. It is rather smaller, and not nearly so beautiful, as
that at page 135 (which is one of the most graceful and delicate in the Quad-
rupeds).

No. 37. A Bird's Nest. — Birds' nests may be found as tailpieces to the
fable of " The Ape and her Two Young Ones " {Select Eables, page 320), and to
"The Pied Wagtail " (British Birds, Vo\. I., page 231) ; but they differ entirely
from this one in design, more even than they differ from one another.

No. 38. The Zebra. [Equus Zebra. — Lin. Le Zebrc. — Buff. Hab.,
Southern Africa.) — This design has been reproduced in works illustrated by
Bewick again and again, from the tiny cut in A New Lottery Book of Birds
and Beasts, 24mo., 1771 (said to be Thomas Bewick's third work, and where
so many of his designs appear for the first time) up through many others, in-
cluding the History of Quadrupeds, page 22, A Cabinet of Natural History,
published in 1809, to the gigantic woodcut executed for Mr. Pidcock, a speci-
men of which may be seen in the Natural History Museum, Newcastle. Mr.
Pearson remarks, " Bewick was evidently fond of delineating this graceful
animal, several specimens of his production in various sizes being in the collec-
tion."

No. 39. The Co.\l\ion Antelope. [Capra Cervicapra. — Lin. IJ Ante-
lope. — Buff. Hab., North Africa.) — This beautiful design, but taken the
opposite way, is the same as at page 106, History of Quadrupeds, and at page
9, Foreign Quadrupeds, 1809, published at Alnwick. This seems even more
lifelike and spirited.

BEWICK GLEAXIXGS.

No. 40. Vignette. — A deer eating the branch of a tree. I think
critics will agree in thinking that this is cut, as well as designed, by Thomas
Bewick's own hand, and in his best manner.

No. 41. The Badger. (Ursus Mclcs. — Lin. Le Blaircau, ou Taison. —
Buff. Hab., generally distributed throughout Europe.) — See page 281, History
of Quadrupeds. This woodcut has less background, and is reversed ; but the
badgers themselves are much alike.

No. 42. The Musk Bull. (Hab., interior of North America.) — The
drawing and cutting of this block is most exquisite. It is taken the reverse
way, and everything, excepting the animal (which seems as good as the
original) differs from that at page 40, Historv of Quadrupeds, and indeed
seems an improvement on it. The head of another bull, appearing round the
corner, is omitted ; the stiff bit of rock is broken and diversified ; the branch of
the tree is treated with great freedom and beauty ; the ground, and gradation of
distance, bespeaks the utmost feeling and finish ; and the whole bears the
stamp of originality that leaves little doubt it had been a favourite subject
with the elder Bewick, and that we have here an improved version from the
graver of the great master.

No. 43. Vignette.— Sickle and corn.

No. 44. The Elk. (Ccrvus Alecs. — Lin. L^EIan. — Buff. Hab., Northern
Europe and North America, where it is called the Moose-Deer.) — This is taken
the reverse way to that at page 120, History of Quadrupeds.

No. 45. Sheep of the Tees-water Improved Breed. — Reversed from
that at page 6 1 , Histoiy of Quadrupeds.

No. 46. The Domestic Rabbit. — See page 376, History of Quadrupeds.

No. 47. The Pied Goat. (Hab., Cape of Good Hope and Senegal.) —
Taken the reverse way to that at page 9 1 , History of Quadrupeds. The back-
ground is more filled up.

No. 48. The Cheviot Ram. — A well-cut block. The same design, but
reversed from that at page 58, History of Quadrupeds.

No. 49. The R.\BBiT. {Leptis Cunicuhis. — Lin. Lc Lapin. — Buff.) — See
page 374, History of Quadrupeds.

No. 50. A Heath Ram of the Improved Breed. — This woodcut is
smaller and taken the opposite way to that at page 57, History of Quadrupeds.
See also Cabinet of Natural History, page 9. Bewick says the ram from
which this drawing was taken belonged to the then Bishop of Durham (Doctor
Barrington) 1798.

No. 51. A Wedder of Mr. Culley's Breed. — See page 66, History of
Quadrupeds. Bewick gives a long account ex relatione Mr. Culley of the
sheep (just shorn) from which the drawing for this woodcut was made. It
was fed at Fenton in Northumberland, and killed at Alnwick in 1787, and
was of magnificent size. In both woodcuts the Cheviot Hills, which overlook
Fenton, are introduced ; but in this one a farmhouse and trees are added, and
improve the effect.

78 BEWICK GLEANINGS.

No. 52. Vignettp:. — A butcher and his dogs chasing a black-faced sheep.
A very spirited design.

No. ^i. The Tartarian, or Fat-rumped Sheep. (Hab., Tartary.) —
This woodcut is a little smaller, but quite as well drawn as that at page 71,
History of Quadrupeds.

No. 54. A Sheep of the Leicestershire Improved Breed. — This
differs slightly in the background from that at page 63, History of Quadrupeds.

No. 55. Vignette. — A ruined castle.

No. 56. The Many-horned Sheep. (Hab., Iceland and Muscovy.) — Is
smaller, and taken the reverse way to that at page 72, History of Quadrupeds.

No. 57. The Goat ok Angora. (Hab., Mountains of Pontus.) — See page
86, History of Quadrupeds.

No. 58. The Syrian Goat. — See page 88, History of Quadrupeds.

No. 59. The Wallachian Sheep. (Ovis Strepsiceros. — Lin. La Chevre
de Crete. — Buff.) — Is smaller, and very inferior to that at page 73, History of
Quadrupeds. A small one in the background is omitted from this cut.

No. 60. Tees-water Old or Unimpro\'ed Breed. — See page 60, History
of Quadrupeds. Taken the opposite way. Bewick sa3-s the drawing was made
from a ram kept to show the difference between its uncouth appearance and
the improved appearance of the cultivated breed. The background in this is
very good.

No. 61. The Dunkey, or Dwarf Sheep. — A variety of the sheep which
has such a peculiar underjaw, nose, forehead, and ruff, that Bewick says it
appears a deformity. This is taken looking the same way as at page 70,
History of Quadrupeds, but the little man and flock of sheep are introduced
into the background.

No. 62. The Peccary, or Mexican Hog. {Sus Tajacu. — Lin. Hab.,
the tropical parts of South America).

No. 63. The Babiroussa. (Sus Bahyroussa. — Lin. Le Babiroussa. —
Buff. Hab., East Indian Islands.) — This woodcut is a perfect transcript of that
at page 172, History of Quadrupeds, and the touch is much the same, and very
good.

No. 64. The African Wild Boar, or Wood Swine. {Sus yEt/iiopicus.
— Lin. Sanglier dii Cap Verd. — Buff.) — Same design, but taken the reverse
way to that at page 167, History of Quadrupeds.

No. 65. The Common Boar. — {Sus Scrofa. — Lin. Lc Coc/ion. — Buff.
Domestic.) — A very fine woodcut. The boar is the same as at page 162,
History of Quadrupeds, but faces the opposite way, and the background is
different, the little figure of a woman pouring food over the palings into a
trough being a new feature. When the backgrounds are thus varied we may
safely conjecture Thos. Bewick himself has had some hand in it.

No. 66. Sow of the Improved Breed. — Is extremely well cut, and very
like that at page 164, History of Quadrupeds, which, Bewick tells us, was
taken from one in the possession of Arthur Mowbray, Esq., of Sherburn,
County of Durham. It is looking, however, the opposite way.

BEWICK GLEANINGS.

No. 67. Hog (the Chinese kind). — Similar to the woodcut at page 166,
History of Quadi-iipeds, but taken the reverse way. Exactly the same design,
but on a much smaller scale, is used by Bewick as a tailpiece to the poem of
"Auld Reekie," Robert Ferguson's Poems, Vol. II., page iq6, published by
Davidson, of Alnwick, in 18 14. See also Bewick's Cabinet of Natural History,
page 1 1 .

No. 68. The Buffalo. {Bos Bubalus.—Llm. Le Buffle.—^n?i. Hab.,
Africa and India, and has been domesticated in Italy.) — -The head is well
drawn, but the animal stands more stiffly than that at page 47, History of
Quadrupeds.

No. 69. The Elephant. {Elephas Maximus. — Lin. H Elephant. — Buff.
Hab., Asia and Africa.) — See page 186, History of Quadrupeds. The procession
of elephants in the background is a new feature.

No. 70. The Rhinoceros. {Rhinoceros Cnicornis.— Lin. Rhinoceros. —
Buff. Hab., tropical regions of Asia and Africa.) — Closely follows that at page
175, History of Quadrupeds.

No. 71. The Lion. {Felis Leo. — Lin. Le Lion. — Buff. Hab., Africa
and tropical Asia.) —This woodcut is much smaller than that at page 199,
History of Quadrupeds, and is looking the opposite way. The position of the
tail is different. Bewick says he made his first drawing of the lion from one
exhibited in Newcastle in 1788.

No. 72. The Tiger. {Felis Tigris. — Lin. Le Tigre. — Buff. Hab., Asia.)
— This is one of the woodcuts which lead me to believe that the Bewicks were
preparing another set of blocks for a new issue, for at page 206, History of
Quadrupeds, the tiger appears without any background, whereas in this wood-
cut he has a background of palms, a fir tree, and another tiger walking in the
distance. His tail hangs on the other side, and he faces the reverse way.

No. 73. The Two-horned Rhinoceros. {Rhinoceros Bicornis. — Lin.) —
See page 179, History of Quadrupeds. The design is the same (reversed) but
the touch is much coarser.

No. 74. The Leopard. {Le Leopard. — Buff.) — This woodcut is quite as
good in attitude, expression, and execution as the leopard at page 214, History
of Quadrupeds. The background is an additional feature.

No. 75. The Panther. {Felis Pardus. — Lin. La Panthere. — Buff.
Hab., North-Western Africa.) — This beautiful woodcut closely resembles that
at page 212, History of Quadrupeds, but is placed the opposite way.

No. 76. The Caracal, or Cat with Black Ears. {Le Caracal. — Buff.
Hab., India, Persia, or Barbary.) — Reversed from page 238, History of Quad-
rupeds. It seems by the same hand as the Couguar.

No. 77. The Ounce. {HOncc. — Buff. Hab., Asia.) — Seepage 216, //w/ort'
of Quadrupeds.

No. 78. The Jaguar. {Felis Onca. — Lin. Le Jaguar. — Buff. Hab.,
South America.) — See page 217, History of Quadrupeds. Reversed, and all
the background introduced.

BEWICK GLEANINGS.

No. 79. The Margay. {Lc Margay. — Buff. Hab., South America and
Cape of Good Hope.) — This nice httle cut is much the same as that at page
224, History of Quadrupeds, but is reversed.

No. 80. The Serv.^vl. (Lc Serval. — Buff. Hab., India, Malabar.) — This
woodcut is beautiful in the drawing, and the expression and attitude is most
lifelike. Quite equal to that at page 226, History of Quadrupeds.

No. 81. The Wild Cat. {Fclis Catus. — Lin. Lc Chat sauvagc. — Buff.
Hab., England, and freely distributed throughout the world.) — This is a
beautiful woodcut; the touch is very fine and expressive. See page 228,
History of Quadrupeds.

No. 82. The Cat Crossing Water. — This is a reproduction of the
vignette at page 136, British Birds, Vol. I., but is reversed, and is evidently
by a different hand.

No. 83. The Black Tiger. {Lc Couguar noir. — Buff. Hab., Brazil
and Guiana.) — See page 221, History of Quadrupeds. Reversed, and the back-
ground introduced. The touch is much harder.

No. 84. The Ocelot. {Fclis Pardalis.—IJm. Z' Off /o/.— Buff. Hab.,
Mexico and Brazil.) — A transcript of that at page 222, History of Quadrupeds,
and is very lifelike.

No. 85. Vignette. — A ruined abbey.

No. 86. I. — The Ring-tailed Macauco. {Lemur Catta. — Lin. Le
AIococo. — Buff. Hab., Madagascar.) 2.— The Yellow Macauco. (Hab.,
Jamaica.) — See page 445, History of Quadrupeds. These two little animals
are looking the opposite way, and are well and carefully drawn from their pro-
totypes ; but the touch is very different.

No. 87. The Zibet. (Lc Zibet. — Buff. Hab., Africa and Asia.) — A good
woodcut ; very similar to that at page 273, History of Quadrupeds, exceptirig
that it is reversed.

No. 88. Vignette. — A coble in full sail.

No. 89. I. — The Tailless Macauco. (Leiiiur Tardigradus. — Lin.
Hab., Ceylon and Bengal.) 2. — The Mongooz. {Lemur Mongooz. — Lin.
Le Mongooz.—'^n'S.. Hab., Madagascar.)— See page 447, i^zi/o;-/ of Quadru-
peds. The design is the same but the outlook of the animals reversed.

No. 90. The Fossane. (La Fossane. — Buff.; or Berbe of Guinea. Hab.,
Madagascar, Cochin China, &c )— See page 264, History of Quadrupeds.

No. 91. Vignette. — A man fishing from a punt. I think an original design.
No. 92. The Grey Squirrel. (Sciurus Cincreus. — Lin. Le Petit Gris.
— Buff. Hab., Northern Europe and North America.)— See page 3S7, History
of Quadrupeds.

No. 93. The Flying Squirrel. (Sciurus Volans. — Lin. Le Poulatouche.
—Buff. Hab., North America and Northern Europe.)— See page 394, History
of Quadrupeds. Taken the opposite way.

No. 94. Recollection of a Northern Castle.— The same design may
be found at page 162, British Birds. Vol. L They are so exactly the same
touch, that it seems impossible that they are not from the same hand.

BEWICK GLEAXIXGS.

No. 95. The Long-tailed Squirrel. (Hab., Ceylon and Malabar.)
— Reversed from the same design at page 396, History of Quadrupeds^ but not
nearly so good.

No. q6. The Flying Opossum. (Hab., New South Wales.)— See page 439,
History of Quadrupeds ; similar but reversed.

No. 97. Vignette — A man under a tree. This is an exquisite, and, I
think, original little design.

No. 98. The Short-eared Bat. {Vcsperiilio Murinus. — Lin. Le
Chauve Souris. — Buff. Hab., common in Great Britain and Europe.)— This
is similar to the one at page 513, History of Quadrupeds, but not so delicately
cut.

No. 99. The Jerboa. {Mus Jaculus. — Lin. Le Jerbo. — Buff. Hab.,
Egypt and Asia.) — See page 397, History of Quadrupeds.

No. loo. Vignette.

No. loi. The Souslik. (J\Ius Citellus. — Lin. Le Souslik. — Buff. Hab.,
Austria.) — See page 407, History of Quadrupeds.

No. 102. The Mico, or Fair Monkey. (Hab., the River Amazon.)
— Is taken looking the same way as the woodcut at page 481, History of
Quadrupeds. This block appears to me to be very well cut, as far as it goes,
but to be unfinished.

No. 103. Vignette. — A woman by the sea-shore.

No. 104. The Dormouse, or Ground Squirrel. {Sciurus Striatus. —
Lin. Le Suisse. — Buff. Hab., North America.) — See page 389, History of
Quadrupeds. A beautiful block.

No. 105. Squirrel Opossum. (Hab., New South Wales.) — See page 441,
History of Quadrupeds.

No. 106. A Mouse. — Not like any woodcut in Bewick's Quadrupeds.
Possibly an original little design by Thomas Bewick.

No. 107. The Muscovy Musk-Rat. {Castor Moschatus. — Lin. Dcesman.
— Buff. Hab., Lapland and Russia.) — A close copy of that at page 419, History
of Quadrupeds.

No. 108. The Short -tailed Field-Mouse. — Very like that at page 426,
History of Quadrupeds, but the touch of this is not at all like Thomas Bewick's,
whereas, No. iiS of this series looks much more like his handiwork ; both are
given for the sake of comparison.

No. loq. The Mole. {Talpa Europcus. — Lin. La Taupe. — Buff.) — The
same design as at page 430, History of Quadrupeds. This mole is lying the
opposite way. The same also, but smaller, is at page 30, Davisoii^s Natural
History, illustrated by Bewick ; and the Compendium of Zoology.

No. 1 10. The Long-tailed Field-Mouse. {Mus Sylvaticus. — Lin. Le
Mulot. — Buff.) — This is a most beautiful little woodcut. The eye and tail life-
like, the fur soft, the background elaborate; more so than that at page 425,
History of Quadrupeds, evidently from a master hand.

No. III. The Monax. {Mus Monax. — Lin. Glis Marmota. — Buff. Hab.,
North America.) — Reversed from page 402, History of Quadrupeds.

BEWICK GLEANINGS.

No. 112. The Lesser Dormouse. {Mus Avellanarius. — Lin. Le Mtts-
cardin. — Buff.) — Here are two versions of the same design which have been
constantly reproduced. See the opposite page, also page 393, History of
Quadrupeds; page 35, Davison^ s Natural History of British Quadriipcds,
Alnwick, )8oq, by Bewick; and page 70, Compendium of .^oolog-y, London,
181 8. Numberless instances might be given, besides those I have noted, of
identity of design with the two last works I have mentioned.

No. 113. The Shrew Mouse. {Sorex Araficus. — Lin. La Mnsaraigne.
— Buff. Hab., common in England.) — This is a beautifully executed little
woodcut. The same design, and looking the same way as the little shrew
mouse at page 427, History of Quadrupeds.

No. 114. The Dwarf Mouse. (Hab., Cape of Good Hope.) — A beautiful
little drawing. Reversed from that at page 429.

No. 115. Vignette. — A sportsman and dog. I think an original design.

No. 116. Lesser Dormouse. — See Note 112.

No. 117. The Mouse. {Mus MuscuIus. — Lin. Le Souris. — Buff. Hab.,
common everywhere.) — A very good woodcut. See page 424, History of
Quadrupeds.

No. 118. The Short-tailed Field-Mouse. (Hab., common in England.)
— This is a beautiful little woodcut. See Note 108.

No. 119. Vignette. — A fisher with his hat in his hand. An original design,
I think, and a very good block indeed.

No. 120. The Foumart. (Rlustcla Putorius. — Lin. Le Putois. — Buff.
Hab., England.) — The same design as at page 252, History of Quadrupeds, but
reversed. Bewick says, one severe winter a foumart was traced to its hole, and
eleven fine eels were discovered to be its booty. Hence, the introduction of
snow and the eel into this picture.

No. 121. The Stoat. (Alustela Erminea. — Lin. Le Roselet. — Buff.
Hab., Great Britain and Northern Europe generally.) — This woodcut is taken
the opposite way to that at page 246, History of Quadrupeds. The design is
identical, but the e.xecution not quite so fine.

No. 122. The Polecat and the Cock. — Like the tailpiece to the fable
of the " Fox and the Grapes " {Select Fables, page 76), but reversed.

No. 123. The Sable. {Mustela Zibellina. — Lin. La Zibeline. — BufiF.
Hab., Siberia and Kamschatka.) — The design is precisely the same as at page
258, History of Quadrupeds ; and the little animal is well finished, but the
rock on whicli it stands is not fully filled in.

No. 124. The Pine-Weasel, or Yellow-breasted ]\L\rtin. (La Marte.
— Buff. Hab., Northern Europe, Asia, and America.) — The same design as at
page 255, History of Quadrupeds.

No. 125. The Ichneumon. (Viverra Ichneumon. — Lin. La Mangouste.
^BufT. Hab., domesticated in Egypt, where it destroys vermin, serpents,
crocodiles' eggs, &c.) — This beautiful woodcut is the same design, taken looking
the opposite way, as at page 261, History of Quadrupeds.

BEWICK GLEANINGS.

No. 126. The Marmot. {Mtis Marmota. — Lin. La Marmottc. — Buff.
Hab., Higher Alps, Poland, Tartary.)— See page 399, History of Quadrupeds.

No. 127. The Kanguroo-Rat. (Hab., New South Wales.) — Similar in
design to that at page 444, History of Quadrupeds. Evidently by a beginner ;
and is looking the opposite way.

No. 128. This exquisite little Vignette, inscribed "Aqua Vitse" on the
pedestal, is, as nearly as it could possibly be cut, a duplicate of that below the
"Brown Tern," in British Birds, Vol. II., page 216. It seems to be from the
hand of Thomas Bewick. Mr. Matthew Mackey, of Newcastle, intends, after
this book is published, to utilize this block as a book-plate for insertion in his
beautiful collection of Bewick Editions.

No. i2q. The Spotted Caw. {Mus Paca. — Lin. Lc Paca. — Buff.
Hab., South America.) — A very indifferent block. See page 379, History of
Quadrupeds.

No. 130. The Kanguroo. (Hab., New South Wales.) — See page 442,
History of Quadrupeds \ Ed. 1824. This one is taken the reverse way, and
the treatment of the background of trees is different. Though finely drawn,
this block seems to me to be not quite finished.

No. 131. ViG.NETTE. — A beautiful, and, I think, original little design of
a pump.

No. 132. The T.\iLLESS Marmot. — See page 408, //wi'orv of Quadrupeds.

No. 133. The Lapland Marmot. {Mus Lemmus. — Lin. Le Leming. —
Buff. Hab., Northern Europe and Asia.) — This marmot is looking the same
way as that at page 409, History of Quadrupeds, but it is less finished and not
so soft in the fur.

No. 134. The Angler.— This beautiful transcript of the vignette at the
end of the "Redshank," Vol. II., British Birds, page 77, is looking the opposite
way, but otherwise follows that design very closely. The attitude of the old
fisher, as he attentively regards the hook he is baiting, is very e.xpressive.
This block has been used to illustrate the order-form of the prospectus of this
work.

No. 135. The Beaver. {Castor Fiber. — Lin. Lc Castor, ou Le Bievre.
— Buff. Hab., Northern Europe, Asia, and America.) — See page 411, History
of Quadrupeds.

No. 136. The Musquash, Musk Beaver, or Little Beaver. (Hab.,
North America.) — See page 416, History of Quadrupeds.

No. 137. The Inscribed Stone Vignette may be found as the tailpiece
to the " Shepherd's Boy and the Wolf," at page 62 of yEsop's Fables, but this
woodcut is rather larger, and taken the reverse way. Such stones (without
the caustic inscription, however,) of the "Whin Sill," may often be seen in the
North of England. How such a stone, of many tons weight, can have been
transported, often a hundred miles and more from its native home, and be
found quietly reposing in the corner of a green field in level country, has
always been a puzzle to the rustic mind, and led to strange superstitions and
quaint stories. For instance, that it was a fairy stone, and that on St. John's
Eve, every year, exactly as the clock strikes twelve, it rises up and walks slowly

BEWICK GLEANINGS.

three times round the field before returning to its resting place for another
year. The geologist soh'es the problem for us, and says they have been frozen,
in the far off Glacial period, to the bottoms of icebergs, and as these great
monsters floated slowly southward to the Southern Seas, the masses of rock
they carried with them became detached and dropped on the plains they
passed over.

No. 13S. The Suricate, or Four-toed Weasel. — See page 274, History
of Quadrupeds.

No. 139. A Bear (from Bengal). — This bear is looking the opposite way,
but is otherwise a reproduction of that at page 293, History of Quadrupeds.,
which, Bewick tells us, had escaped the observation of naturalists, and remained
unnamed and unclassed to his day.

No. 140. Vignette. — An original and beautiful Bewickian design. I
think it must have been cut for a book-plate.

No. 141. The Sand Bear. — A very beautiful block, and much improved
to that at page 284, History of Quadrupeds, by the rock and surroundings.

No. 142. The Brown Bear. {Ursus cauda abrupta. — Lin. HOurs.
— Buff. Hab., Northern Europe and America.) — This v/oodcut is different in
the background, and the bear is looking the opposite way to that at page 288,
History of Quadrupeds.

No. 743. The Strolling Players.— rThis vignette is the same design
(but reversed) as that at page 292, History of Quadrupeds, at the end of the
account of the brown bear. Note the gibbet in the distance.

No. 144. The Lynx. {Felis Lynx. — Lin. Le Lynx, ou Loup Cervier.
— Buff. Hab., Northern Europe and America.) — See page 235, History of
Quadrupeds.

No. 145. The Striped Hyena. (Canis Hycena. — Lin. HHywnc. —
Buff. Hab., Asia and Asia Minor.) — See page 298, History of Quadrupeds.

No. 146. Vignette. — A shrimper on the sea-shore. An original design,
I think.

No. 147. The Couguar. {Felis Concolor. — Lin. Lc Couguar. — Buff.
Hab., North and South America.) — See page 219, History of Quadrupeds.

No. 148. The Spotted Hyena. (Hab., Cape of Good Hope.) — See page
301, History of Quadrupeds. Some Hottentots are left out in the distance.

No. 149. Vignette. — A desolate scene on the sea-coast. A broken boat
in the foreground.

No. 150. The Jackal. {Canis Aureus. — Lin. Lc Chacal. — Buff.) —
This animal is lifelike, and the hills in the background are added. See page
320, History of Quadrupeds.

No. 151. The Otter. {Mustcla Lutra. — Lin. Lc Loutre.—'Q\x'&. Hab.,
Britain.) — The design in the background of this woodcut is somewhat altered
from that at page 490, History of Quadrupeds.

No. 152. Vignette. — A wreath and arrows.

No. 153. The Wole. {Canis Lupus. — Lin. Lc Loup. — Buff Hab.,
Europe and America.) — See page 313, History of Quadrupeds. Small, but

BEWICK GLEANINGS.

looking the same way. The canoe, hut, and palm trees are added. Bewick
had great difficulty in satisfying himself with a wolf design, as he complains he
read such different accounts of the animal.

No. 154. The Wolf. (Cam's Lupus. — Lin. Lc Loup. — Buff. The New
South Wales variety.) — This animal is looking the opposite way to that at page
319, History of Quadrupeds. It is very lifelike, and the background is most
beautifully cut.

No. 155. This is a good specimen of the Italian ornaments used some-
times by Bewick, and alluded to in the Treatise on Wood Engravings
page 571 :—

"In the First Edition of the History of Quadrupeds the characteristic tailpieces are compara-
tively few ; and several of those which are merely ornamental, displaying neither imagination nor
feeling, are copies of cuts which are frequent in books printed at Leipsic, between 1770 and
1780, and which were probabl}' engraved by Ungher, a German wood-engraver of that period.
Examples of such tasteless trifles are to be found at pages 9, 12, iS, 65 no, 140, 201, 223, and
401. Ornaments of the same character occur in Heineken's Idee Generate d'uiie Collection
Complette d' Estavipes, Leipsic and \'ienna, 1771. Bewick was unquestionabi)- better acquainted
with the history and progress of wood-engraving than those who talk about the ' long-lost art '
were aware of. The first of the two following cuts is ■^facsimile of a tailpiece which occurs in an
edition, Der Weiss Kunig, printed at Vienna, 1775, and which Bewick has copied at page 144 of
the first edition of the Quadrupeds, 1790. The second from one of the cuts illustrative of Ovid's
Metamorplwses, 1569, designed by \'irgil Soils, is copied in a tailpiece in the first volume of
Bewick's Birds, page 330, edition 1797."

No. 156. The Arctic Fox. (Cam's Lapogus.— 1.1X1. Isatis. — Buff. Hab.,
Arctic Regions.) — This animal differs very slightly from that at page 311,
History of Quadrupeds. The fur, especially in the tail, is perhaps more feathery
in this woodcut, which is a very good one ; and the shadows by the ears, the
lower ja\v, and beneath the body between the hind legs are better defined than
in the old one.

No. 157. The Greyhound Fox. (CanisVidpes. — Lin. Le Renard. — Buff,
Hab., Mountains of England and Scotland.) — This woodcut was chosen, from
the brilliancy of its light and shade, to adorn the prospectus for this volume.
Foxes, and all English wild animals were old Bewick's delight, and he excelled
himself when depicting them, always giving something characteristic of their
habits. The fur on this fox is as delicate, and the foliage of the bushes as
graceful as in that at page 307, History of Quadrupeds, and, taken altogether,
worthy of any new edition. The attitude of the fox, and the main outline of
the design is the same, and it is looking the same way.

No. 158. Vignette. — A recollection, possibly, it cannot be called a portrait,
of the Ruins at Holy Island. I think an original design.

No. 159. The Cur Fox. — The same design as at page 308, History of
Quadrupeds. This block was carefully wrapped up and labelled, and was cut,
I believe, by Thomas Bewick himself. It is a remarkably fine woodcut, and the
Treatise on Wood Engraving, speaking of the Quadrupeds, says that perhaps
this is the very best design in the whole book. See also Mr. Thomson's
criticisms quoted in this volume when treating of the History of Quadrupeds.

No. 160. The idea is the same as at page 312, of the History of Quadru-
peds, but differently treated. Here the river, mill, and water-wheel are intro-

BEWICK GLEANINGS.

duced, and the fox is running into the river instead of under the rock. The
word "speed " too, is written beneath a tiny waterfall. It is a remarkably fine
block.

No. ibi. Vignette. — A recollection, I think, of Finchale Abbey, County
of Durham.

No. ib2. The Bull Dog. — In this very beautiful woodcut the dog is from
the same design as at page 334, History of Quadniprds, but is even more finely
cut, though the background introduced (an entirely new one) is hardly so
appropriate. This block was carefully wrapped up and labelled, as if deemed a
great treasure.

No. 163. The Fox-hound. (Hab., England.) — This is a brilliant woodcut,
and differs in almost every detail from that at page 348, History of Quad-
rupeds. I think few will have any hesitation in thinking that it is an entirely
new block, from the master hand of old Thomas Bewick himself, in his later
manner, which now for the first time sees the light. Dogs and fo.Kes, and the
English animals he knew, were his delight, and this is one that points unmis-
takably, I think, to the preparation for some enterprising publisher of a new
set of blocks for some projected work on natural history. Davison of Alnwick
had found it answer, why not some south-country bookseller ? The old man
in such a case would doubtless keep those subjects he took a pleasure in for
himself (getting, alas, but few of them done), leaving probably the foreign
animals, for which he cared less, to the pupils to reproduce from the old designs
(many of them somewhat stiff and conventional, and drawn from pictures or
stuffed specimens). These they have accomplished with more or less success,
here and there improving on the old designs, but seldom equalling the old
blocks as far as the touch and cutting goes. A few of their blocks I have
ventured to suppress, and many I have merely given as specimens of the
" school " and records of the worksliop, the kind of aftermath which I have
described as Bewick Gleanings.

No. 164. Vignette. — An incident during a fo.x hunt in the County of
Durham. This cut has a peculiar interest, being from the hand of Thomas
Bewick himself, in his old age. It exhibits all his old power of design, and
close observation of passing incident ; and was one he prepared as a tailpiece
for the History of Fishes, but being weak and confused in the execution
(characteristics too painfully evident in many of the last woodcuts given in the
Memoir), it was rejected from that volume by the printer, who wrote on the
back — " We cannot work it up." It is given here, an authentic specimen of
the old man's last handiwork, and a sad and interesting remembrance of his
failing powers. Air. Andrew Reid has taken every pains to render it full justice.

No. 165. The Spanish Pointer. {Cam's Aviai/aris. — Lin.) — This is a
very fine block and a favourite subject of the master. See page 355, History of
Quadrupeds. In this one the background is altered, hills, a stone wall, and
gate are introduced; and the dog is looking the opposite way. But in both
Bewick has copied the design of the dog from WooUett's celebrated engraving,
a print of which was in his possession, and the editor saw it sold in rather a
dilapidated condition at the first Bewick sale. Bewick was very fond of
Woollett, and several of his prints were in Bewick's possession. He also adapted

BEWICK GLEANINGS.

«7

the same dog as a tailpiece at page 3 1 8, British Birds, Volume I. Mr. Thomson
says — "This is a very lovely print, and quite worthy of the highest praise";
and Mr. Austin Dobson remarks — "Our special favourites in the book are the
Spanish Pointer and the staid Old English Hound."

No. 166. The English Setter. — This block seems to be hardlv finished.
The dog is running the opposite way to that at page 356, History of Quadru-
peds. The background is entirely different. The river and corn-field, and the
reapers with their sickles, are a new introduction.

No. 167. Vignette. — A dog coursing. I think this is an original design.

No. 168. The Shepherd's Dog. [Canis domcsticns. — Lin. Le Chicn
de Bcr_s;cr. — RutT.) — This block does not show the same masterly touch so
many of the other dogs do amongst these blocks. The design is the same
(reversed) as at page 327, History of Quadrupeds.

No. 169. The Lurcher.— See page 343, History of Quadrupeds.

No. 170. The L.-\rge Rough W.\thr Dog. {Canis Aviarius Aquaticus.
— Lin. Lc Grand Barbet. — Buff.) — Bewick tells us it is web-footed, and
swims with such ease it is valuable for duck-shooting, recovering things lost
overboard at sea, etc. This is a beautiful block. See page 360, Htstory of
Quadrupeds.

No. 171. The Cuk Dog. — See page 320, History of Quadrupeds. Reversed,
and the background not so good.

No. 172. The Dog (the Springer or Cocker). — The trees above the rock
are a little fuller than that at page 363, History of Qiuidrupeds, but the cutting
is coarser.

No. 173. The S.m-all \Vater-Sp.\mel. — Reversed from page 362, History
of Qiuidrupeds. The bend in the river, rocks, and bridge, introduced in this,
are not found there. It is a very fine block.

No. 174. The Turnspit. — Reversed from page 365, History of Quadrupeds.

No. 175. The B.\n-Dog. — The design of this beautiful woodcut is the same,
but the watchful looking dog stands the opposite way to that at page 338,
History of Quadrupeds, where we find a woodcut that in some respects seems
to exceed in beauty the rest of that volume. I cannot help thinking it is a
recollection of the old vicarage and church tower of Ovingham, where the elder
Bewicks resorted every day to school, to whom the vicarage field must have
been as familiar as their own home.

No. 176. The Dog .and his Sh.xdow. — No tailpiece like this can be found
in either the British Birds, Quadrupeds, Select Fables, or Hisop's Fables. It
is probably the original design from the hand of one of the Bewicks, and forms
an illustration of the way in which they utilised an idea for different purposes,
as, although entirely different, the notion of dropping the substance for a
shadow is the same in the fable of " The Dog and the Shadow " in ^Esop^s
Fables, page 117, and Select F'ablcs, page 21, but they are very differently
treated. In both the fables the dog is crossing a stream by a plank, and the
shadow falls in deep water. In this woodcut the sheep are huddling together

BEWICK GLEAXIXGS.

beneath the wattled fence to shelter from the cold, snow lies upon the ground,
ami the dog sees his shadow as he steps gingerly on the ice. We may observe
this habit of adapting one design or idea to different purposes very frequently
scattered throughout Bewick's works. For instance, one of the dogs hunting
in the little tailpiece to the Ringdove, at page 31S, British Birds, Vol. I., is a
reproduction, on a different scale, of the Spanish Pointer in the History of
Qucidnipcds, and both are adaptations of Woollett's design in his celebrated
copperplate engraving of the same animal.

No. 177. Dog Species (the Comforter). — See page 364, History of Quad-
rupeds, edition 1824.

No. 178. The Dalmatian, or Coach Dog. {Le Braqiie dc Bengal. —
Buff) — This is a very beautiful block indeed, and bears the stamp of a master
hand. The background design is very much altered, and the dog is standing
the opposite way to that at page 339, History of Quadrupeds. The same
design, equally good, but on a small scale, is reproduced on the original cover
to Tom Thumb's Playbook, published by Davison of Alnwick, with illustra-
tions by Bewick.

No. 179. Vignette. — A boy teaching a dog to beg. I think an original
design.

No. 180. The Old English Hound. {Canis Sagax. — Lin. Le Chien
courant. — Buff.) — Reversed. Page 351, History of Quadrupeds. This block
appears unfinished.

No. 181. The H.\rrier. {Le Braque. — Buff.) — This woodcut is entirely
different, excepting the dog, to that of the Harrier at page 347, History of
Quadrupeds. There, dogs running, and men on horse and foot are seen
crossing a field in the background. Here a wooded hill, with country house,
bridge, and river are introduced, and the dog, looking the other way, stands on
a grassy knoll in the foreground. Mr. Thomson says, " The Harrier which
follows this is one of the best of the dogs ; the engraving is refined, the form
well-nigh perfect, and it stands out like marble from the surrounding scene.''

No. 182. Vignette. — A beautiful and, I think, original study of an old
man taking a stroll.

No. 183. The Greenland Dog. {Lc Chieu dc Sibirie. — Buff.) — Reversed
from page 331, History of Quadrupeds. Bewick tells us that this kind of dog
is of a savage disposition.

No. 184. Thp: Large Water-Spaniel. — This beautiful woodcut, in which
the execution of the dog is exceedingly fine, also differs in its background from
that at page 361, History of Quadrupeds, as do many of the others. Bewick
tells us the drawing was made from a very fine dog in the possession of John
Erasmus Blackett, Esq., of Newcastle.

No. 185. The Shepherd and his Dog. — Not only does the design of this
woodcut, biit the execution, seem line for line the same as that at page 182,
British Birds. Vol. L, beneath the Snow Bunting, and it seems impossible
almost that they are not from the same block. As the tailpieces to the Birds
were varied in different editions, this may have been the identical block used.

BEWICK GLEANINGS.

.Sq

No. i86. The Pig-tailed Baboon. (Siinia Ncmcstrina. — Lin. Le
Maimo7i. — Buff.) — See page 462, History of Quadnipeds.

No. 187. The Oran-Outang, or Wild Man of the Woods. (Simia
Satyrus. — Lin. Le Pongo. — Buff. Hab., Africa, Madagascar, Borneo.) — The
design at page 452, History of Quadrupeds, is followed, but the hideous animal
is sitting the opposite way.

No. 188. A beautiful little original design of a river waterfall.

No. 189. The Striated Monkey. {Simin lacchns. — Lin. HOiiistiti —
Buff. Hab., Brazil.) — See page 478, History of Quadrupeds, edition 1824.

No. iqo. The Ribbed-Nose Baboon. {Simia Maimon. — Lin. Le
Mandrill. — Buff. Hab., Africa.) — See page 459, History of Quadrupeds,
edition 1824. This block seems unfinished.

No. 191. Vignette. — A labourer tramping home. See page 1^5, British
Birds, Vol. L, edition 1809. As the vignettes vary in the different Vditions of
the Birds, this md.y perhaps have been the block used there.

No. 192. The Varied Monkey, or Mona. (La Mone. — Buff. Hab,,
Barbary, Northern Africa, Arabia, and Persia.) — See page 471, History of
Quadrupeds.

No. 193. The Long-Armed Ape. {Lc Grand Gibbon. — Buff. Hab., East
Indian Islands.) — See page 455, History of Quadrupeds. This is a fine block.

No. 194. Vignette. — Peacocks. I think an original design.

No. 195. The Barbary Ape. [Simia Inuiis. — Lin. Le Magot. — Buff.
Hab., the whole of Africa.) — See page 456, History of Quadrupeds.

No. 196. The Baboon. {Simia Sphynx. — Lin. Hab., Africa.)— Bewick
speaks of the Baboon as "hideous and disgusting." Page 457, History of
Quadrupeds.

No. 197. A Peel Tower.— This thoroughly characteristic Northumbrian
sketch may be found at page 165, British Birds, Vol. I., at the end of the
notice of the Green Grosbeak. Nothing but the closest comparison by a
practised eye can detect the smallest indication of difference between the wood-
cuts ; but those slight indications are there, if looked for, to prove that they
are not from the same blocks, though probably from the same hand.

No. [98. Vignette. — A horse fastened to a gate. The Editor has not
bt-en able to trace this design in any of Bewick's works. The expressive
attitude of the poor animal standing patiently in the driving rain, with his tail
tucked in, and his feet all together, is exceedingly good. The sign hanging
out shows that it is an inn, where his neglectful master is refreshing himself.
It is a truly Bewickian scene, illustrative of the pathetic vein touched upon
by Mr. Stephens in his notes on the Panting Stag, giren under the woodcut
from that block in the " Life of Thomas Bewick " in this volume. The dead
horse (No. 199), the broken boat (No. 146), and the dog tearing a dead sheep
in the presence of its lamb (No. 203), are all intensely pathetic, and are pur-
posely placed near each other for comparison.

BEWICK GLEANINGS.

No. 199. The Dead Horse. — This design is reversed from one in The
History and Delineation of ilie Horse in all his varieties, etc., by John
Laurence, with illustrations by Bewick (''many beautiful vignettes," Hugo
says), published in London, in 1809. The cutting of this block I am inclined
to attribute to Charlton Nesbit, the touch so closely resembles that of the
final vignette in Somerville's Chase, which was executed by him ; the rest in
that volume were cut by Thomas Bewick himself.

No. 200. \'iGNETTE. — Hunting a mad dog. The action of the dog,
slouching along, with the saliva dropping from his open jaws, is admirable, as
is also the general conception of the design, with the men running behind, and
the old woman appearing right in the way ; but the execution is both weak
and confused.

No. 201. A Hen and her Chickens in a Farmyard. — This block is
very illustrative of Bewick's earliest style, and very like much of the work
done during his apprenticeship.

No. 202. A Ship ready for Launching. — A smaller design something
like this forms the tailpiece to the fable of the " Viper and the File" {Select
Fables, page 13), but in this one the tree, with the mastiff dog and his kennel,
are introduced. The house, too, in this one is in much better perspective ; it
is very faulty in the Fables.

No. 203. A Dog tearing a dead Sheep in the presence op- its Lamb.
— See History of Quadrupeds for the same design.

No. 204. Interior of a Blacksmith's Shop. — This is a most exquisitely
finished design, every detail is carefully worked up, and the block yields a
brilliant impression. The horse standing so patiently, the attitude of the
blacksmith, and every tool and instrument is most characteristic. The design
seems to be quite original, though in the fable of the "Viper and the File"
(^sop^s Fables, page 243) Bewick has made a study of the interior of a smith's
shop.

No. 205. Exterior of a Blacksmith's Shop. — This magnificent block
appears to aflford us a new and unpublished design of a very interesting char-
acter. The manner in which the Bewicks individualized all the animals they
drew is well exemplified here. The knowing old horse looks sagaciously round
as the blacksmith examines his hoof at the instigation of his master, and the
respective attitudes of the dog and horse show clearly what perfect friendship
subsisted between them.

No. 206. The Hunt. — A large and beautiful woodcut. The scene is
picturesque and animated. The hounds are in full cry, the distant horsemen
are pausing as they look at the ravine, while one behind is galloping hard over
the brow of the hill. The horseman in the foreground, who, hat in hand, is
leaping the five-barred gate, is rather stiff. We may safely venture to think
we have here an original and unpublished design by John Bewick; for few can
fail to recognise the strong distinctive resemblance between the style of this
block and that by him in Somerville's Chase — of the King hunting in Windsor
Forest. Compare the trees, the dogs, the somewhat wooden aspect of the
horses, the carefully drawn and highly finished plants growmg on the rock
in the foreground. As we have seen in the sketch of John Bewick's life, in

BEWICK GLEANINGS.

this volume, he made the drawings for Somerville's Cliasc just before his
death, and they are deemed his masterpiece ; but leaving the work unfinished,
his designs were all sent to his brother Thomas to be " cut in " on the wood ;
and this one, perhaps, was a supernumerary. The woodcut to which we have
been comparing it occurs at page 78 of Bulnier's edition of Somerville's Chase;
and in Mr. Thomson's work, page 156, he says : —

" The tailpiece represents Kinjj Georg^e III. at a chase in Windsor Park ; and witnessing the
misery of the hunted stag, he rebukes the disappointed, hungry pack in the manner mentioned in
the poem. The King is nearest the .spectator, but he wants life, and appears somewhat inanely
riding amidst his courtiers. The trumpeter sounds the close of the chase, while the poor wearied
stag labours up an incline in the t'atkground. Farther off, the King's carriage awaits his majesty,
to take him to Windsor Castle, seen in the distance. The subject of this block probably e.xplains
why King George III. took such a deep interest in the manner in which it was executed, as men-
tioned in the Treatise on Weed Engraving. It there says that the King thought so highly of the
cuts that he could mt believe that they were engraved on wood, and his bookseller, Mr. George
Nicol, obtained for his majesty a sight of the blocks, in order that he might be convinced of the
fact by his own inspection. Perhaps, however, as Chatto s.ays, the King merely desired to see
the blocks, as he was unacquainted with the difference between wood and copperplate engraving."

No. 207. A Card Border.

The following seven profile portraits in black (silhouettes) are by Thomas
Bewick, and of very great interest to the connoisseur. In Mr. G. C. Atkinson's
sketch of his life (published in the Natural History Society s Transactions for
1830) he tells us : —

" His inducement for writing a life of himself, which he did, and which he meant to inter-
sperse with profile likenesses of his friends, was, seeing in the introduction to a novel, called
Such is ilie World^ published by Whitaker in 1821, an erroneous statement of the circumstances
attendant on the prefixture of his thumb mark to Gay's Fables. This determined him to give to
the world a life of himself, which, considering his originality, force of language, and strength of
understanding, must be a work of considerable interest, particularly when it is to contain like-
nesses of those with whom he was intimate."

These evidently are the portraits of his friends to which Mr. Atkinson
alludes, and for some reason or other they were not included in the Memoirs
of himself, published thirty-five years afterwards by his daughters. It is much
to be regretted that we have lost the clue to his connection with some of the
faces he drew.

No. 208. The Rev. Christopher Gregson, Vicar of Ovingham, Bewick's
schoolmaster. — His relationship to the Bewick family is mentioned in the
beginning of Thomas Bewick's life, in this volume, in the notice of his mother.
Throughout the account of his boyhood and apprenticeship many notices of
the good old man are interspersed. At page 150 of the Memoirs we are told : —

" My old and revered preceptor, the Rev. Christopher Gregson, died this year.* No sooner
did the news of his extreme illness reach me than I set off, in my usual way, and w'ith all speed,
to Ovingham. I instantly rushed into his room, and there I found his niece in close attendance
upon him. With her, being intimately acquainted, I used no ceremony, but pulled the curtain
aside, and then beheld my friend in his last moments. He gave me his last look, but could not
speak. Multitudinous reflections of things that were passed away hurried on my mind, and these
overpowered me. I knew not what to say, except, ' Farewell, for ever farewell ! ' Few men have
passed away on Tyneside so much respected as Mr. Gregson."

Mr. Atkinson, in his sketch, says : —

" Such a feeling it was which pervaded the bosom of Mr. Bewick towards his early preceptor,
and led him not only to speak of him at all times in terms of the sincerest gratitude and respect,

* 1790.

V-

BEWICK GLEANINGS.

but, at a later period, to engrave a profile shade of him for the illustration of a memoir of himself,
intended to contain likenesses of his friends."

No. 2oq. RoiiEKT PoLLAKi), the engraver, a friend of Bewick's.— In the
Memoirs, page 71, he says : —

"Alioulthis time I commenced a most intimate acquaintance and friendship witli Robert
rt>llard, afterwards an enj^raver and printseller of eminence in London. He was bound apprentice
to John Kirkup, a silversmith in Newcastle, and from his being frequently sent to our workshop
with crests, cyphers, &c., to engrave, he took a great liking to engraving, and was indefatigable
in his endeavours to become master of it. In furtherance of this we spent many of our evenings
together at his father's house, which to me was a kind of home. On his master declining
business, my young friend was engaged for a term of years to learn engraving with Isaac Taylor,
of Holborn, London."

When Bewick went to London he received a warm welcome from Robert
Pollard, and through his introduction found plenty of work provided for him
by Isaac Taylor.* Pollard and Mr. Bailey were the only friends (besides his
partner and the printer) to whom Bewick gave a vellum copy of the " Chilling-
ham Bull." After Robert Pollard had established himself in London, he
issued, in 1793, the first volume of the Peerage of Great Britain and Ireland.
Mr. Croal Thomson tells us : —

'■ An announcement made with the publication of this book promised to issue a volume
everj' six months, to be printed by Bulmer, who afterwards produced the Goldsmith and Parnell,
' The Chase,' and other fine works ; but the sale of this, the first part, being ver)^ small, it was
resolved to discontinue it. No other volume, therefore, appeared, although the preface states that
the subjects for the second had been put into the hands of the respective artists. There are
numerous copperplates in the volume published, but the woodcuts only are by John Bewick. That
of classical ruins, on page 33, is signed ; a very fine cut of a ruin, with carefully drawn trees, is
on page 105, repeated on page 136 ; the others are artistically arranged heraldic devices and
weapons of warfare."

No. 210. William Charnley, an eminent Newcastle bookseller, son of a
haberdasher in Penrith. — He was apprenticed in January, 1741, at the age of
fourteen, to a tinplate worker ; but within the month was transferred to
Bryson, a bookseller on the Tyne Bridge. In 1748 he was admitted to the
freedom of Newcastle, and in 1750 his master took him into partnership. This
was dissolved in 1755, and the business continued "at the Bridge End " by
Charnle}'. He was there in 1771, when the great flood broke down the arches
and wrecked the shops. He then moved to a more central part of the town at
the foot of the Groat Market. As far back as 1757, he had opened a circu-
lating library in a commodious shop at the foot of the Flesh Market, con-
taining 2,000 volumes. The subscription was twelve shillings a year, or three
shillings a quarter. Joseph Barber, another noted bookseller, f had already for
some years kept a circulating library at Amen Corner, where he had removed
from the head of the Flesh Market, on the High Bridge. Charnley's action
compelled him to reduce his terms to ten shillings and two shillings and six-
pence, and to advertise his "grand original" library of 1,257 volumes as worthy
of continued support. After W. Charnley's removal to the Groat Market, he

* .\n eminent engravir of that day, and fatlier of Jane and Ann Taylnr, who wrote many
hymns and songs for chi'dren, and of Isaac Taylor, a most eminent theologian and metaphysician.

t He dealt in prints, and had also a tea warehouse. He was succeeded by the Humbles,
who afterwards owned the Didlhim Adver/iser.

BEWICK GLEAXIXGS.

continued there until his death in 1S03, "highly and justly respected for his
literary and professional talents, his strict integrity, and social worth." His
widow continued the business in the same place until 1806, and then removed
it (to make way for Collingwood Street) to the Bigg Market. At her death,
in 1814, her son, Mr. Emerson Charnley, became the sole proprietor of the
busmess, and continued it until his death in 1845. He was very well known
to all people of literary tastes in the North of England. Dibden, in his
Northern Tour, tells us much about their intercourse. He was succeeded by
his son, who retired in i860 in favour of Mr. William Dodd, who had managed
the business from the death of Mr. E. Charnley in 1845. To Mr. William
Dodd, who is still the highly respected Treasurer of the Newcastle Society of
Antiquaries, the Editor is indebted for much of this information.

No. 21 1. This was classed in the Catalogue as a '' Clergyman unknown" ;
but the Editor is inclined to think it is William Charnley again.

No. 212. T. A. WiLi.i.\MS.

No. 213. Thp: Rk\-. \A^illiam Turner, a Unitarian minister in Newcastle,
who spent a long and useful life in promoting the happiness and improvement
of others. — He was a great advocate of Sunday schools, one of the founders of
the Antiquarian Society, the Literary and Philosophical Society, and the
Natural History Society of Newcastle, to all of which he was a constant con-
tributor. His society was much valued by all the cultivated men in and
around Newcastle of that day, by whom he was much beloved. Sykes tells us
that, in December, 1 831, to celebrate the

" Fiftieth year of his residence in Newcastle, a very splendid entertainment was given in the
Assembly Rooms ; Jas. Losh, Esq. in the chair, Dr. Headlam and Wm. Boyd, Esq., vice-presidents.
Upwards of one hundred gentlemen sat down to dinner, including Archibald Reed, Esq., Mayor,
Alderman Shadforth, Sir R. Hawks, Col. Campbell, Chas. \Vm. Bigge, John Clayton, John
Adamson, Armorer Donkin, John Buddie, John Lambton Loraine, and Robert Ingham, Esqrs.,"
and that the "venerable gentleman, then seventy years of age, was highly complimented by the
many excellent speeches that were made."

This good old man lived to be still more " venerable," for Mr. William
Dodd informs me that the " Rev. W. Turner died at Manchester, at the house
of his daughter, Mrs. Robberts, April 24th, 1856, aged ninety-seven."

No. 214. A. Reed. — There was a Mr. Archibald Reed so popular that he
was six times elected Mayor of Newcastle, and also a Mr. Alex. Reed, a china
merchant. The Rev. J. W. Townsend writes to the Editor : —

" Dr. Clark thinks this is Archd. Reed and not the auctioneer — it is nothing like him.
Mr. Archd. Reed was six times mayor — a clothier — his house was at Whorlton, but he was .at the
Mansion House. Forty years an alderman and magistrate ; aldermen were then magistrates. A fine
oil painting of him was done by his son, who became a celebrated artist. A monument in
Jesmond Cemetery was erected by public subscription. He appointed Dr. Clark his coroner,
who remembers him well. [Dr. Clark] collected money for his monument and composed his
epitaph."

But Mr. William Dodd states : —

" Of the two A. Reeds you mention, I think it is most likely to be Alex. Reed, the china
merchant ; he was also an auctioneer. He was a very likely person to be a friend of Bewick. He
was never in Pilgrim Street. His place of business was for many years in Dean Street ; he was
there in 1801 and was there in I.S24. He afterwards moved to the Royal Arcade, to the large rooms
over the steps. He was elected a town councillor after the passing of the new Municipal Act."

BEWICK GLEANINGS.

NOTES ON THE "BEWICK SALE" COPPERPLATES.

Plate I. "Thomas Bewick, Engravkr, Newcastle." — His business card,
before his son was taken into partnership. The style, early George III., when
the Adams, of Adelphi fame, were exercising such a wonderful influence over
the art and architecture of their day. Whether it were a design for engraving
a silver tea-pot, a model for the exquisite vases which bear their name-
rivalling those of their cotemporary, Josiah Wedgwood — the outline of a
chimney-piece, or the plan of a mansion ; everything they touched bore witness
to the versatility of their invention, and received the impress of style, and
their style itself was generally pleasing, graceful, and refined ; and such are
the characteristics of this simple card.

Plate II. Carlisle Bank £'^ Note. — By Thomas Bewick. See the
Autobiography.

Plate III. Carlisle Bank Guinea Note. — By Thomas Bewick. Lent
by iMr. M. Mackey.

Plate IV. Berwick Bank £'^ Note. — By Thomas Bewick. See original
correspondence in this volume with Mr. Bailey, and lithographed letter from
Thomas Bewick, on this copperplate. Mr. Thomson says (page 173) — "The
Berwick Bank note for one guinea, and the five pounds of the same, issued
shortly afterwards, have some very superior engraving."

Plate V. Back of the Preceding Berwick ^"5 Note. — The Editor has
seen one of the notes, which had been in circulation ; now in the possession of
Mr. Bolam, of Berwick.

Plate VI. A Spoilt Beginning for the Preceding Note. — Very in-
terestintr, and given here to illustrate Thomas Bewick's method of work, and
the difficulties he had to overcome. See his letters on this subject in the
chapter on bank notes in this volume.

Plate VII. Berwick Bank £\ Note. — By Thomas Bewick.

Plate VIII. Northumberland Bank ^"i Note, with a view of St.
Nicholas', the Old Castle, and the Moot Hall, signed " Bewick." " For Sir
Francis Blake, Bart., John Reed, Reeds and Co." Sir Francis Blake, of Twizel
Castle, on the Tweed, in Northumberland, descended from the celebrated and
eccentric Sir Francis Delaval, of Seaton Delaval. John Reed, of the old Border
clan family of Reed, of Reedwater, Northumberland, formerly seated at Trough-
end on the Reedwater, near Otterburn, and afterwards at Chipchase Castle,
which they purchased from the Herons. Owing to the failure of the North-
umberland Bank, Chipchase passed into other hands. The heirs of the late
Rev. John Reed, Vicar of Newburn, are the ]iresent representatives of the old
family.

Plate IX. NoKTHUMHERLAM) Bank £\ XoTE. — " For John Reed, Reed
and Co," with vignette signed " Ik'wick." All bank note plates were done

BEWICK GLEANINGS.

qt;

by Thomas Bewick himself (until in his old age he gave them up to his son),
and his work, while in progress, was carefully guarded from sight to prevent
forgery.

Plate X. Northumberland Bank £~. Note. — ''For Sir Francis Blake,
Bart., John Reed, Reeds and Co.," with a vignette signed " Bewick.''

Plate XI. NoRTHUJiBERLAxn Bank £i Note. — "For John Reed, Reed
and Co.," with vignette signed " Bewick."

Plate XII. Northumberland Bank £20 Note. — ''For John Reed, Reeds
and Co.," with vignette signed " Bewick." For the loan of these five plates the
Editor is indebted to Mr. Matthew Mackev, of Newcastle, the indefatigable
Bewick collector.

Plate XIII. This very fine engra\-ing* is signed " T. Bewick, del. and
sculpt." In the background is a cottage scene, with the house dog running
barking to the rescue of the family pigs. The pigs are racing out of the way
of a couple of setters, who, with their master, his gun in hand, are in pursuit of
game. He has left his pony picketted to the ground, to browse, while another
sportsman leans idly against the saddle of a fine black pony in the foreground.
The design was intended as the frontispiece to A Short Treatise on that Useful
Invention called the Sportsman s Friend {\?iO\).\ This invention was a peg
driven into the ground, to which the pony is fastened, as shown in the etching.
An unfinished bit of chain is the only indication that this interesting plate has
never been quite completed. |

Plate XIV. A Cheviot Ram.§ — This beautiful plate was executed by
Thomas Bewick himself in his best days. He tells us all about it at page 182,
Memoirs, and the Editor feels very fortunate in having secured it for this
volume : —

"It will readily be supposed that, where such exertions were made, and pains taken to breed
the best kinds of all domestic animals, jealousy and envy would be e.xcited, and contentions arise
as to which were the best, but for me to dilate upon this would only lead me out uf the way. I
shall, however, notice an instance, as it happened to occur between m}' two friends, Mr Smith uf
\\"oodhall, and Mr. Baile}'. The latter, in connection with his report on Cheviot sheep, had
given a bad figfure of a ram of that breed. This was construed into a design to lessen the
character of Mr. Smith's Cheviot sheep, on which, in .■\pril, 1798, the latter sent for me to draw
and engrave a figure of one of his rams, by way of contrasting it with the figure Mr. Bailey had
given. The colour Mr. Smith gave to the business was, not to find fault with Mr. Bailey's figure,
but to show how much he (.Mr. Smith) had improved the breed since Mr. Bailey had written his
report.

" Whilst I was at Woodhall, I was struck with the sagacity of a dog belonging to Jlr Smith.
The character for sagacity of the shepherd's dog was well known to me, but this instance of it
was exemplified before by own eyes. Mr. Smith wished to have a particular ram brought out
from amongst the flock, for the purpose of my seeing it. Before we set out, he observed to the
shepherd, that he thought the old dog (he was grey-headed and almost blind) would do well
enough for what he wanted with him. Before we reached the down, where the flock was feeding,

* The original wrapper is labelled, " Shooting Pony, etched by T. Bewick."

t By Henry Utrick Reay, Esq., of Killingworth, Northumberland, and formerly High
Sheriff of that countv ; for whom Bewick also engraved a set of silver buttons with sporting
subjects. They were inherited by Mr. Reay's son-in-law, .Matthew Bell, Esq., .M.P., of
AVoolsington.

X For Mr. W. Garrett's account of this book, see Hugo's Beu'ick Collector, page 71.

§ Labelled, " Witham, Cheviot Ram, belonging Mr. Smith, Woodhall."

BEWICK GLEANINGS.

I observed that Mr. Smith was talking^ to the dog before he ordered him off on his errand ; and
while we were conversing on some indifferent subject, the dog brought a ram before us. Mr.
Smith found a deal of fault with the dog, saying, did I not order you so-and-so ? And he
scolded him for bringing him a wrong sheep, and then, after fresh directions, sent him off again
to bring the one he wished me to see. We then returned home, and shortly after our arrival
there, the dog brought the very ram wanted, along with a few other sheep, into the fold where I
took a drawing of him."

Plate XV. Labelled on the original wrapper "Doe's Head, etched by R. E.
Bewick" (his own handwriting).

Plate XVI. Thp: Hunt Card of Mr. Cui.ley's Beagles, signed " T. Bewick
and Son." — Nothing can be more characteristic of Thomas Bewick's style than
the design for this exquisite little card. At page 1S2 Memoirs, he says —

" My intimate friend, John Bailey, Esq., of Chillingham, in conjunction with another friend
of mine, George CuUey, Esq., of Fowberry, were the active, judicious, and sensible authors of
many of the agricultural reports, in which they did not lose sight of the farmer. The}- wished
to 'live and let live' between landlord and tenant."

Speaking of this Mr. Culley, the Editor's aunt, Mrs. Kelly, of Saltford,
Somerset, writes : — " He was a great friend of your grandfather's ; they were
related."

Plate XVn. This print has a peculiar interest for Newcastle antiquaries,
being the book-plate* of the Rev. John Brand, the historian of Newcastle, by
Ralph Beilby, Bewick's partner and former master. The idea of this design
was afterwards adopted for a wood block by Thomas Bewick, who cut it for the
Rev. E. H. Adamson, the learned author of the Life of Camocns, Liisitanice
Illtistrata, and Bihliothwca Lnsitania. This block was used on the title page
of mlny of the rare Newcastle Reprints. See note at page 306, Hugo's Bewick
Collector. Beilby executed some copperplates for Brand's History of Neiv-
castlc, and the interleaved copy of their cori'espondence, which belonged to
Mr. John Fenwick, is now in the hands of the Editor; and in a letter dated
"Bath, Feb. 3, 1786," Mr. Brand thanks R. Beilby for fifty impressions from
this very plate. In the Treatise on Wood Engraving., page 580, speaking of
Mr. Ralph Beilby's copper engraving, it is said —

" Roger Thornton's monument, and the plan of Newcastle, in the Rev. John Brand's history
of that town, were engraved by Mr. Beilby. Mr. Brand's book-plate was also engraved by him.
It is to be found in most of the books that formerly belonged to that celebrated antiquary, who is
well known to all collectors from the extent of his purchases at stalls, and the unique copies of
old books which he thus occasionally obtained."

Plate XVIII. Book-plate of Jas. C. Axdersox. — This and the two fol-
lowing are in the very best Bewickian style. Mr. Hugo says : —

" It was only natural that advantage should betaken of his e-xquisite powers by the professional
and commercial men of his great town and neighbourhood — by the former for book-plates,f memo-
rial cuts, and similar objects; by the latter for notices of exhibitions, bill heads, shop cards, bar
bills, coal certificates, &c,, and by both for various societies and companies, the members of which
they jointly composed."

This Mr. James C. Anderson was of the well-known Jesmond family, now
represented by James and Wm. Anderson, Esqs., of Newcastle. Mr. Hugo, in
his Bcivick Collector, gave an impression from a (wood block) book-plate he

* The original wrapper is labelled (I think in R. E. Bewick's writing) "Book-plate, etched
b_v Ra. Beilby, Ruins, (Stc."

t See also notes on "book-blocks," in the Ltff of Thomas Bewick in this volume.

BEWICK GLEANINGS.

had, with the inscription, ''Matt: Anderson, St. Petersburg," who was another
member of the Jesmond family. This wood block is now in the possession of
the Rev. E. Pearson, of Cheltenham. Besides these, Bewick cut book-blocks
for ''John Anderson, St. Petersburg," — a sportsman on horseback, afterwards
used as a vignette in the British Birds, Vol. I., page 149, edition 1826 ; and
for "John Anderson, jun.," — a fishing scene. All these Andersons were relations,
and the last-named was the Sheriff of Newcastle whose name appears on the
invitation card to the dinner in celebration of George IV. 's coronation, given
amongst these copperplates (No. XXIX.).

Plate XIX. Another book-plate, labelled " Bywell Bay." By R. E. Bewick.
A single impression of this was given as a great treasure by Aliss Bewick to the
Rev. Thos. Hugo. This and the succeeding plate (No. XX.) are in magnificent
condition, and yield brilliant impressions, showing the plates to be fresh and
unworn. The collectors who may be fortunate enough to insert their names
and first use impressions from these copperplates for their libraries in the
future, may rest assured they are almost unique in obtaining, at this late date,
fresh and perfectly genuine " Bewick " book-plates.

Plate XX. Another original design for a book-plate. See preceding note.
Speaking of a similar book-plate on copper, I\Ir. Croal Thomson says : —

" The workmanship, indeed, is very pecuhar, for the prints are not like copperplate work in
tlie usual sense of the term. A specimen of sucli a plate, executed for J. Headhm, is given on
the next page. The technique is bolder, freer, and less conventional, and more like careful etch-
ing than engraving, although the happ}' phrase which has been attached to them, 'wood engraving
on copper,' describes them best."

Remarkable to say, since these words were written (in 1882) these copper-
plates for book-plates were sold to the Editor in their original wrappers, and
they are all, it will be observed, labelled "etched on copper" or "etching on
copper," so that the Bewicks themselves deemed these copperplates "etchings"
rather than line engravings.

Plate XXI. Crest of the Collingwoods of Northumberland, for a
book-plate. The design of the head and antlers is exquisitely finished, but
probably it has been laid aside and never used, because, by mistake, the motto
(which may have been left to an apprentice) was not reversed in the lettering
as it should have been ! This could easily be remedied now, by erasing the
lettering and re-engraving the motto in the proper way.

Plate XXII. The original wrapper is labelled " By R. E. Bewick. Coat
of arms of ■ Mills.' "

Plate XXIII. Concert Ticket.

Plate XXIV. Business Card.—" Walter Hall & Co."

Plate XXV. Business Card. Blank. — On the original wrapper it is labelled
" By Beilby." This, as well as Nos. XXIII. and XXIV. (if their lettering were
erased) would make beautiful borders for book labels or coats of arms.

Plate XXVI. Ball Ticket, with a beautiful design of a rustic dance ; St.
Nicholas' steeple in the distance. Mr. Kinloch was a noted dancing master,
from whom the Editor's aunts and uncles took lessons in former days.

BEWICK GLEANINGS.

Plate XXVII. Ball Ticket (''Bewick sculpt.") for a celebrated masquerade
dance held in Newcastle. Its glories have not even yet faded from the
memory of the neighbourhood, and a large oil painting, with the principal
costumes in the foreground, was exhibited a few years ago in the Exchange
Art Gallery. There is a woodcut with the same design amongst the " Bewick
Sale Blocks."

Plate XXVIII. Back of the invitation card to the Mayor's dinner at the
Coronation of George IV. " T. Bewick and Son fecit."

Plate XXIX. Reverse of the last, labelled by the Bewicks, " Coronation
Ticket. G. Forster, Esq., Mayor."

Plate XXX. The original wrapper is labelled " Corporation Arms. August,
I S3 1. Engraved by R. E. Bewick," in his own handwriting.

Plate XXXI. An Emblematical Figure of Newcastle resting upon a
shield bearing the arms of the town, is receiving homage from a figure repre-
senting the arts of Music and the Stage; sea horses, signifying the seaport, are
grouped on the other side. The original wrapper is labelled " Plate, with
motto, 'Je n'aspire que vous plaire.' Late Mr. Harrison's, Forth."

Plate XXXII. The New Assembly Rooms, Newcastle. — " Bewick set."
Labelled on the original wrapper, " Misses Brodie. Assembly Rooms."

Plate XXXIII. The Moot Hall, Old Castle, and Steeple of St.
Nicholas, Newcastle-upon-Tyne.

Plate XXXIV. Emblematical Fic.ure of Justice.

Plate XXXV. The original wrapper is labelled, " Plate of Old Exchange,
Newcastle, b)' Thomas Bewick." It shows the crow's nest on the top, and is
believed to have been done for the Newcastle Almanack for the year 1786.

'* In the 3'ear 17S3, a pair of rooks, after an unsuccessful attempt to establish tliemselves in
a rookery at no great distance from the Exchange, were compelled to abandon the attempt.
They took refuge on the spire of that building, and although constantly interrupted by other
rooks, built their nest on the top of the vane, and brought forth their young, undisturbed by the
noise of the populace below thtm ; the nest and its inhabitants turning about with every change
of the wind. They returned and built their nest every year on the same place till 1793, soon
after which the spire was taken down." — Si it. Birds, Vol. I. (the Rook.)

Plate XXXVI. This was labelled "Mr. Redhead's Plate of Buoy, engraved
R. E. Bewick," in the handwriting of the latter. It is a spirited view of the
Prior's Haven at Tynemouth, where the waves used to dash with relentless
force before the long piers were built, which have since rendered the port of
the Tyne more safe and desirable.

Plates XXXVII., XXXVIII., XXXIX., and XL. In the "Bewick Sale
Catalogue" these are described, " Winterbottom's (Dr.) Travels. Four views,
engraved by T. Bewick to illustrate this work, ivJiich ivas never published.'"
This, however, proves to be a mistake, as the work was published about 1802,
and was entitled. An Account of the Native Africans in the neighbourhood of
Sierre Lcouc, to ivhich is added an Account of the Present State of JMedicine
amongst them, by Thomas Winterbottom, M.D., Physician to the Colony, in
two 8vo. volumes, and these ])lates were used to illustrate it. Southey, in his

History of Brazil, speaks of it as " a very able and a very valuable work."
Dr. Winterbottom (whose second name was Masterman) was born at Westoe,
near South Shields, in 1765. Lord Macaulay's father was governor of the
colony, and he and Dr. Winterbottom became ardent fellow-workers in .the
anti- slavery cause ; they remained cordial friends until the death of the former
in 1838. Dr. Winterbottom returned to Westoe to succeed his father in an
extensive practice, and lived there for the remainder of a long life ; he attained
the age of ninety-five, surviving until 1859. He was unremitting in his
endeavours to promote the good of others, founding during his lifetime no
less than seven different funds and institutions for the benefit of his native
place. For these particulars I am indebted to my friend Mr. Wm. Brockie,
of Sunderland.

Plates XXXVII. and XXXVIII. represent scenes in domestic life amongst
the natives of Tropical Africa.

Plate XXXIX. contains Illustr.ations of Termites, or White Ants. —
{Tcrmes fatalis. — Lin. T. hellicosus. — Smeathman.) From Tropical Africa.
Fig. I. — A young winged male or female. Fig. 2. — Ditto, after losing its wings.
Fig. 3. — Female (queen) filled with eggs. Fig. 7. — A worker magnified. Fig.
8. — A soldier. Figs. 10 to 24. — Various species of Termites.

Plate XL. Nests of the White Ants. — Figs, i and 2. — Termes fatalis.
Figs. 4 and 5. — Tennes destructor. — Fab. Termes arborinn. — Smeathman.
For this information I am indebted to the kindness of Mr. Wm. Dinning, of
Newcastle.

Plate XLI. Froxtispieck by Ralph Beilby to Pope GanganellVs Letters.
These letters* were first published by Lottin, in Paris, very shortly after Pope
Clement XIV. 's death. They became very popular, and were so widely read
that a translation was printed in Newcastle by J. Saint for W. Charnley, in
1777, t which Beilby illustrated by this and the following plate.

Plate XLII. Portrait of Pope Clement XFV. — By Beilby.

Plate XLIII. Frontispiece for Angus's History of England and Scotland.
'' By L. Clennell." So labelled on the original wrapper.

Plate XLIV. " Frontispiece. Otway's tomb." — So labelled on the original
wrapper. No name is attached, but the writing is the same as on the preceding
plate.

Plate XLV. The following remarkable series of coal certificates, peculiarly
interesting to the North of England antiquary, begins with that for Cowpen
Colliery, Port of Blyth, and bears the arms (Ridlej' Quartering White) of their
owner, Sir Matthew White Ridley, Bart. The little vignette on which the
shield is set, is thoroughly Bewickian. The bull coming round the corner
(suggestive of the Ridley crest — a bull) could have been designed by no hand
but that of old Thomas himself.

* The Editor found them most interesting.

t The Editor is indebted to the Very Rev. Provost Consitt, of Durham, for the loan of a
copy of this scarce volume.

100

BEWICK GLEANINGS.

Plate XLVI. Wvlam Moor Coal Certificate, with arms— within a
beautifully engraved wreath — of the owner, C. Blackett, Esq., of Wylam Hall.

Plate XL^'II. T. Brown, Esq., afterwards Messrs. Drewett, Brown, & Co.,'
of Jarrow. Jarrow is on the banks of the Tyne, in the County of Durham.
There, overlooking the Tyne, still stands the church where dwelt the great
church historian, the Venerable Bede, more than 1,200 years ago; and
opposite, on the other side of the river, are the remains of the mile tower,
where, 600 years before that early date even, the Roman Emperor finished his
great outwork of the Roman Wall.

Plate XLVIII. Garesfield (County of Durham) Coal Certificate, with
the arms of the owner, the iMarquis of Bute. Signed " Bewick."

Plate XLIX. Coal Certificate of Eighton Moor, with the crest and
monogram of William Wharton Burdon, Esq., the owner. The royalty belonged
to Lord Ravensworth. Eighton Moor is in the County of Durham, near Ravens-
worth Castle.

Plate L. A Banker's Order, with a pretty little design of a woman pour-
ing flowers from a cornucopia.

Plate LI. Newcastle Distillery. — The original wrapper is labelled "Bill
plate. Mr. Jabez Hood. Out of use."

Plates LH. and LHL Two exquisite old plates, fresh as the day they were
engraved. It is a question not easily decided, and one we must leave to the
critics to discuss, whether these beautiful little pictures may, or may not, be
ascribed to Thomas Bewick ; whether, for instance, they formed part of his
early work in London — of which we have so little record — or whether he
bought them there as specimens of the art. The foliage of the trees very
closely resembles the style he at one time aiined at. The wrappers throw no
light upon their history. With these two plates we close the "Bewick Sale"
series, and bid farewell to the relics from West Street, Gateshead.

(From the Bewick Sale.)

INDEX.

lOI

INDEX.-

-Part I.

Abbs, George, 45.

Bewick, John, sen., 3, 4, 31 ; Agnes, 4 ; John,

.Ackerman's Religious Emblems^ 92,

jun., 30, 44, 83, 86 ; R. E., 72, 87.

yEsop's Fables, ^ I .

Bigge, J. H., loS.

Ainstable, 3, 27.

Black Gate, the, 11.

Allan, George, 44, 52.

Blackett, Mrs., 22.

-Amen Corner, 10.

Bolam, John, 62.

Anderson, A., 106.

Book-plates, 67.

Angus, M. 26, 67.

Bowman, J. E., 78.

Atkinson, G. C, 13, 61.

Boyd, William, 60 ; E. P., 5o ; Archdeacon

.■\udubon, J. J., 79, So.

W., 61.

Bacon's, P., engraving of Bewick, 74.

Bailes, Dr., 11, 30.

Bailey, John, 46, 49, 62, 63, 65 ; iMiss, 12, 63.

Bailey's, E. H., bust of Bewick, 73.

Bank Notes, engravings of, 61, 62.

Barlow, Francis, 37 ; George, 54.

Barnes, J. W., 86.

Breadalbane, Earl of, 90.
Bridgewater, Earl of, 95.
Brooks, J. C, 99.
Brown, John, 42 ; William, 42.
Bryan, Michael, 52.
Buckley, Rev. Mr., 50.
Bulmer, William, 24, 81, 84, 85.

Beattie's Minstrel, Clennell's cuts to, 94.

Burn, James, 5.

Beilby, Ralph, 9, 12, 13, 29, 53, 54; William,

9 ; Miss, 25.
Beilby family, 12.

Burnett, James, 73.

Bute, Earl of, 90.

Buxton, Bewick's visit to, 79.

Bell, Sir Chas., 98 ; John, 48, 49.

Bewick, Thomas, birth of, 4 ; at school, 5 ;

Cadger's Trot, the ; lithograph of, 77.

bound apprentice, 10 ; his first wood en-

Carlisle, 27.

gravings, 13 ; end of apprenticeship, 25 ;

Carr, Robert, loi.

tour in Scotland, 27 ; visits London, 28 ;

Catnach, J., 70.

leaves London, 29 ; partnership with

Charnley, Emerson, 38.

Beilby, 29 ; death of his parents, 30 ;

Chatto, W. A., i6, 48, 103, 104.

tour in Yorkshire, &c., 31 ; expenses on

Cherryburn, 2, 3, 4, 25, 30, 51.

the road, 32 ; his marriage, 41 ; History

Chillingham Bull, 45, 51 ; vellum impres-

of Oiiadnifieds, 43 ; visits Chillingham,

sions, 49.

46 ; visit to Wycliffe, 52 ; British Birds,

Chillingham Castle, 46.

53, 54 i dissolution of partnership, 54 i

Clennell, Luke, 93 ; death of, 96.

engraves Bank Notes, 61, 62 ; yEsop's

Cobbett's Register, 42.

Fables, 71 ; removes to Gateshead, 71 ;

Cock, the, inn ; cut for, 15.

portraits of, 73 ; his workshop, 75 ; visit

Consitt, Matthew, 52.

to Edinburgh, 77 ; History of Fishes, 78 ;

Constable, Mrs., 52.

death of his wife, 79 ; visit to Buxton,

Coombes, Michael, 50.

79 ; visit to London, 81 ; death of, 82.

Crawhall, Joseph, 14.

I02

INDEX.

Croker, R. E., 6S.
Cumberland, tour in, 27.

Davison, Wm., 37, 70, 95.

Death of Dentatus, Harvey's cut of, 9S.

Decisive Charge of the Life Guards, print of,

95-
Derwentwater, Earl of, 7-
Dilston Hall, 7.

Dobson, Austin, 36, 37, 55, 57, 103.
Dodd, William, 50.
Dovaston, J. F., 78, 79.
Durer, Albert, 13.

Edinburgh, Bewick's visit to, 77.
Elliot, Isabella, 41 ; Robert, 41.
Elswick Hall, 55.
Eltringham, 26.

Falconer's SAipiurec/;, Ciennell's cuts to, 97.
Fishes, History of, projected, 78.
Flameng, L., engraving of Bewick, 75.

Garret, Wm., 51.

Gays Fables, 2 1 .

Goldsmith and Parnell's Poems, cuts for, 85.

Good's, T. J.| portrait of Bewick, 75.

Goundry, John, 53 ; George, 53.

Gow, Thomas, 51.

Gray, Gilbert, 23 ; George, 25 ; Edwin, 50 ;

Wm., 24, 28.
Gregson, Rev. C, 4, 5, 9, 10, 22 ; Miss, 6 ;

C, 10, 28 ; Philip, 28, 31.

Hall, Edward, 52.

Harvey, Wm., 73, 97 ; Bewick's letters to, gS,

99 ; designs for various works, 100.
Haydon, R. B., 98.
Haydon Bridge, 26.
Henderson's History of Wines, Harvey's cuts

to, 99.
Highland Society Diploma, 95.
Hive of Ancient and Modern Liieratttre, 94.

Hodgson, Thomas, Printer, 28,29; Solomon,

43, 47, 54-
Hodgsons of Elswick, 55.
Hole, Henry, loi.
Hornbooks, 15.
Hugo, Rev. Thos., 15, 16, 21, 47,48, 51, 53,

55, 69, 86-
Hutchinson's History of Durham, 69.
Hutton, Charles, 13, 41.
Hylton Castle, 69.
Hymers, John, 25, 28.

Jackson, J., 47, ;8, 73, 76, 90, 96, 102 ; Treatise

on Wood Engraving, 103.
Johnson, Robert, 89, 90, 91 ; John, 91.
Joly, Dr., 49, 50.
Jupp, E., 50.

Kay's New Preceptor, 20.

Kettle, J. W., 50.

Kidd, T. A., 73.

Kirkhall, 37.

Kirkley's, Miss, portrait of Bewick, 73.

Knaresborough, 68.

Knight, Charles, io2.

Kyloe 0.x, copperplate of, 52.

Landells, F^benezer, 102.

Langhorne, J. Bailey, 63.

Leadbitter, Robt., 75.

Le Clerc, Sebastian, 37.

Le Grand's Fablieux, cuts for, 84.

Lee, James, 86.

Liddell, Sir H. G., 53.

Lilburn, Charles, 69.

London, Bewick's arrival in, 28.

Losh, George, 61.

Lumley, Joseph, 42.

Mackey, M., 86.

Meyer's engraving of Bewick, 75.

Mickley, 4, 10.

Moral Instructions from a Father, 36.

INDEX.

103

Morison, Messrs., 90.

Smith, Dr. Robt., 15, 67.

Murphy's portrait of Bewick, 73.

Somerville's Chase, cuts for, 85.

Murray, C. 0., 75.

South Kensington Museum, 50.

Natural History Museum, Newcastle, 44,49, 56.

Spearman, Robt., 52.
Spence, Thomas, 24, 25.

Nesbit, C, 73, 9i-

Spencer, Earl, 48, 50.

Newburn, 26.

St. George and the Dragon, cut of, 15.

New Lottery Book of Birds and Beasts, 16.

St. John's Church, Newcastle, 41.

Newspaper cuts, 39.

St. Nicholas' Church, Nesbit's cut of, 91.

Nicholson, W., 64, 73, 74 ; Isaac, I06.

St. Nicholas' Churchyard, Bewick's workshop

Northcote's Fables, 92.

in, 76.

Ovingham, 4, 8, 26, 82.

Stephens, F. G., 56, 57, 86.
Strangeways, W. N., 99.

Pearson, Edwin, 16, 38, 50, 67 ; Rev. E., 20,
21, 38, 74.

Summerfield, T., 73.
Swarley's club, 41.

Pease, J. W., 75-
Penrith, 15, 27.
Pocock, C. J., 51.
Pollard, Robt., 28, 49, 50.

Taylor, Isaac, 28, 29. ,
Temple, W. W., 72, loi.
Thomson, D. C, 16, 37, 45, 50, 51, 69, 86, 91.
Thorp, Archdeacon, 77.

Quadrupeds, History of, 43 ; piracy of, by

Thurston, John, 107.

Tour through Sweden, Lapland, ^c, 52,

Anderson, 106.

Townsend, Rev. W. J., 32, 86 ; Rev. Geo., 50.

Ramsay, J., portraits of Bewick, 73, 74 ;

Tunstall, Marmaduke, 44, 4;, 49, 53.

picture, "The Lost Child," 75.

Vesey, M., 32.

Reiveley, James, lol.
Robinson, R., 41, 55.

'■Waiting for Death," cut of, 81.

Roger's Poems, Clennell's cuts to, 95.

Walker, D., Hereford, 77.

Rotheram, John, 52.

Warren, Charles, 94.

Ruskin, J., 55, 58.

West, Benjamin, 95.

Ryton Church, copperplate of, 77.

White, Henry, lol.

Whitley Large Ox, copperplate of, 52.

Saint, Thomas, 15, 36.

Willis, Edward, loi.

1 Scholey's History of England, 94.

W'ilson, Jane, 3, 4 ; Thomas, 3.

Scotland, tour in, 27.

Windmill Hills, Gateshead, 71.

Scott's Border Antiquities, 95.

Wingate, Richard, 87.

Select Fables, 21, 36, 37, 38.

Woollett engravings, 41,

Shadforth, Whittaker, 25.

Wycliffe, 44, 45, 52.

Side, the, 11.

Wylam, 26.

Silvertop, George, 52.

Simpson, John, 48, 54.

Zouch, Rev. Thos., 53.

104

INDEX.

INDEX.-

-Part II.

Adamson, John, 96.

Ganganelli, Pope, 99.

Anderson, Jas. C, 96 ; Matt., 97 : John, 97.

Garesfield Colliery, 100.

Assembly Rooms, Newcastle, 98.

Garret, Wm., 95.

.■\tkinson, G. C, 73, 91.

Gregson, Rev. C, 70, 91.

Baile)-, John, 94, 95, 96.

Hall, Walter, & Co., 97.

Baker, George, 73.

Hood, Jabez, 100.

Beilby, Ralph, 96, 99.

Hugo, Rev. T., 73, 96.

Bell, John, 73; Matthew, 95.

Berwick Bank Notes, 94.

Jarrow, 100.

Bewick, John, 90; R. E., 96, 97, 98.

Kinloch, Mr., 97.

Blackett, J. Erasmus, 88 ; C, 100.

Bhike, Sir Francis, 94.

Mackey, M., S3, 94, 95.

Bolam, Mr., 94.

Mowbray, Arthur, 78.

Brand, Rev. John, 96.

Brockie, Wra., 99.

Nesbit, Charlton, 90.

Brown, T., 100.

Northumberland Bank Notes, 94, 95.

Burdon, W. W., 100.

Bute, Marquis of, 100.

Pearson, Edwin, 76; Rev. E., 97.

Bywell Bay, 97.

Pollard, Robert, 70, 92.
Prior's Haven, 98.

Carlisle Bank Notes, 94.

Charnley, Wm,, 71, 92 ; Emerson, 93.

Reay, Henry U., 95.

Cheviot Ram, Witham, 95.

Reed, .Archibald, 72, 93 ; Ale.x., 93 ; John,

94-

Chipchase Castle, 94.

Ridley, Sir M. W., 99.

Clark, G. N., 93.

Clennell, L., 99.

Smith, Mr. Woodhall, 95.

CoUingvvood Crest, 97.

Sykes, John, 93.

Consitt, Rev. Provost, 99.

Cowpen Colliery, 99.

Ta3'lor, Isaac, 92.

CuUey, Geo., 77, 96.

Thomson, D C, 73> 87, 88, 91, 92, 94, 97
Townsend, Rev. J. W., 93.

Dobson, Austin, 87.

Turner, Rev. Wm., 72, 93.

Dodd, William, 93.

Waggon and Horses, i, 73.

kj^hton Moor, 100.

Williams, T. A., 72, 93.
Winterbottom, T. M., 98.

Forster, Geo., Mayor, 98.

Wylam Moor Colliery, 100.

■ ^

v:^

^^^
\

r ■:

Plate 1.

From the Bewick Sale.

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0.

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l-l

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^ ^

^ Ha

IF--'' .^Je"—

Plate XV,

From the Bewick Sale.

Plate XVI.

^vilJ Hiiid at

FI.ACE i)AV UttrK

.HoinJlfV _ o'CIoclv

Tmsil/rv B?

Ti;j,/,:i-J,n' 3>?

'll/in\pJtT\' 3),ft

Friday Di^

Siiiiinf^iv D?

From the Bewick Sale.

Plate XVIl.

From the Bewick Sale.

Plate XVIII.

From the Bewick Sale.

Plate XIX.

From the Bewick Sale.

Plate XX.

^|S«i~ -J--;^^? -_-^'"

From the Bewick Sale.

Plate XXI.

From the Bewick Sale.

Pl.ATF XXII.

From the Bewick Sale.

Platk XX1]I.

Frum the Bcwiik Sale.

Pl.ATH XXIV,

14"

"!^.

Kji(i .

'/- /^'//V'/A^///'

Sill I,- 'l\iif

From the Bewick Sale.

Plate XXV.

, »■(> -

From the Bewick Sale.

Plate XXVI.

3F KiXLocirs Bao^/

From the Bewick Sale.

Plate XX VII.

J^^'-

\\ h'

WjliH:]f»:i>tni;«-ji:: y

-JjS?tJ«K\f\jj;d

XH?

'%^.^ f~ »3lJV,,§(^WIlM=^s,IQ)-m

From the BLwkk Sale

Plate XXVII

Ofo: .i/-<>mtt->- J5y^,

. ^j/i/i . ~f/i(/> /J( '/ fun 'X/>/ '

S a EMI IF T.

IS 2,1

From the Bewick Sale

Platk XXIX.

cm,

(Z^!:z^y9? //^r ^ v/

/// /'./r/f/ //

From the Bewick Sale.

L X I^ ^l.^V^V.

From the Bewick Sale.

X!
A

Plate XXXII.

From the Bewick Sale.

Plate XXXIII.

From the Bewick Sale.

Plate XXXIV.

From the Bewick Sale.

Plate XXXV.

A\'ii-w ot'tlieKxpliHiiRVtVom tin- .S,-iii(Uii

'£hc^'B^VCA.&TJ^AJ^lANAi:J%. rortlic Yoai- 1786 >

From the Bewick Sale.

Plate XXXVII.

From the Bewick Sale.

Plate XXXVIII.

From the Bewick Sale.

Plate XXXIX.

T W^ N

Fmrn the Bewick S.i

J'/if/eXL.

From tl

K ale.

Plate XLI.

- J^eilhySc„/j.it

Perinanliii-a tilii inia'iarvat niarmora"\n-tus,
TemuiLS cdax, Cleiiieiis, luriin-etalreuciiuit.

From the Bewick Sale.

Plate XLII

CJLEMJE-^3 TJY. TOWS^.MA^.

From the Bewick Sale.

1 L^-\ 1 >\ *\. 1^ i i i .

From the Bewick Sale.

Plate XLIV.

From the Bewick Sale.

K
H
<

-N

■^

> ^

CI.

X
XI

Plate LII.

&v^ac/y af^ l<^^^aa/y ,?'('/// rh'e) ^^f^/

f^// ' /^ /'////'/.

From the Bewick Sale.

Pl.ATK LI I

From the Bewick Sale.